You get six bands to work with, same as the Post-EQ, and you can adjust the bandwidth of each one all the same as any other EQ. If your source has a bit too much sibilance, roll off the upper frequencies to reduce how long the sibilance bounces around the room. If you want some lower end in your reverb, but don’t want it to build up and overpower your mix, you can set a fast cutoff for lower frequencies. This doesn’t affect the actual frequency spectrum itself (that is done with the included Post-EQ), but only how fast each frequency decays.

In other words, you can change how quickly (or slowly) the room sound fades away based on frequency. While Pro-R does have a 6-band Post-EQ, the Decay Rate EQ gives you frequency-specific control over the decay rate itself. Probably the best part of Pro-R is the frequency display, as it not only provides a standard spectrum analyzer but also provides a visual representation of the decay rate.Īnd this brings me to what is probably the defining factor of what makes Pro-R worth a look, even if you don’t need another reverb the Decay Rate EQ. Pro-R also provides very helpful visual feedback, with controls and frequency ranges highlighted as you mouse over them, and clean-looking frequency analyzers with an adjustable amplitude range. Let the user define the size of their space and where the source is, and let them adjust how much or how little effect they need, and no fuss in between. You do get some useful features for setting the distance between the listener and the source as well as the overall brightness of the reverb itself. In addition to the 7 knobs at the top of the interface, you also get preset controls, A/B switching, and a small number of controls along the bottom of the interface. I’m a big fan of plugins that provide every option imaginable, but Pro-R doesn’t let you scratch that itch, for better or for worse. Things like pre-delay and width are there, but you won’t anything to adjust density or diffusion, and you can’t control early and late reflections separately. You get what I would consider a minimal set of standard reverb controls. All resizing is very smooth and doesn’t interfere with the sound, which is a testament to how well coded the interface of Pro-R is. The interface is resizable, including three size presets, the ability to drag the interface in both directions to any size you need, and even a full-screen mode that removes all distractions, including those of the OS. Clearly organized with colors that go easy on the eyes, Pro-R pretty much begs you to watch it while you listen. If a plugin has a terrible interface that is hard to read and navigate, that’s a problem.įabFilter has never had an issue with their GUIs, and Pro-R is no different. Not in sound quality, but in whether or not you want to use a plugin. Say what you want about whether an interface matters, but I’ll continue to believe it makes a big difference. But despite not having any need whatsoever for another reverb, I just had to give Pro-R a try. I guess it says a lot about FabFilter’s reputation for quality.

Yet, for some reason, when FabFilter announced they would be releasing Pro-R, I became curious and highly interested.

Fabfilter one review