Aether also offers an Attack control to shape the reverb tail's attack envelope to allow for slower build-up as is found in larger buildings.
Aether offers two controls, Spread and Sustain, to keep the energy in the reverb tail higher a little longer than normal without muddying the mix and still allowing a natural decay down to negative infinity. This of course results in its own set of complications, and in the words of the immortal Wesley Snipes, is a bit like trying to ice-skate uphill. They soon realize, however, that the rest of mix gets muddy very quickly, and so they reach for their gates to compensate for this problem. When using traditional exponentially decaying reverb designs, producers and engineers often resort to raising the gain of the reverb to achieve this goal. This is probably a good thing in nature as we would not want to hear a thunder boom continue on for weeks after the lightning strike! In musical applications, however, often we would like the reverb to remain higher in volume for a little longer as to augment the sense of space around a particular instrument. Reverb energy in nature decays exponentially - that is to say that it decreases rapidly after the sound source has stopped emitting sound. Aether's approach does not simply sample one static picture in time, but rather captures the complete subtly of the dynamic chaotic processes found in life and it retains all the detail and organic feel of these processes. A lake in the real world is unlikely to spontaneously develop waves the size of those found in the ocean, but it is never quite as still as a picture either. It is like a picture of a lake, versus the lake itself. A sampled impulse response of a real acoustic space, can be quite accurate for that particular moment, but it tells only part of the story. Thus, acoustic space itself is alive in the real world and is constantly shifting, morphing, and evolving to produce a complex array of potential impulse responses. The same is true in real world acoustical spaces as well: a building's acoustical character may vary slightly depending on several factors such as its current occupancy, and even more subtle things such as the current temperature and humidity. Unlike convolution reverbs, Aether is not a static process, and no two instances of Aether are ever exactly the same. We hope and trust you will be just as excited about the whole family as we are.
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Aether 1.6.0 was released in October 2013, and offers a completely modernized GUI and Systems code-base that brings many significant enhancements including: 64-bit OSX support, Pro Tools AAX support, a significantly enhanced preset browser, double-sized High Definition GUIs, and up to a 20% increase in efficiency on some systems. 2012 continued the legacy ever farther with the launch of B2, our modular dual-engine non-linear monster. 2011 saw the launch of Breeze, Aether's eco conscious cousin.
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Aether 1.5.1 expanded the market reach to the Pro Tools community, offered existing users a large number of new free presets, and provided other miscellaneous enhancements to raise raise the bar yet again. Aether 1.5.0 rose the bar once again in April of 2010, and took native algorithmic reverb to a whole new level by offering a huge list of industry-first advances in terms of audio quality and functionality. It was awarded several prestigious industry awards along the way including, Electronic Musician's 2010 Editor's Choice Award, Computer Music's Editor's Choice & Performance Awards, Musician's Life Editor's Choice award, and others. Through its combination of quality, innovation, and usability it quickly rose to the top of market as the go-to reverb of 2009.