Neyrinck V-90 Symphonic

Neyrinck V-90 SymphonicVideo of V 90 Symphonic PlugIn Examples Instant Vibe Since 1985, musicians and mixers have cherished the SPX 90 and its symphonic effect for wide, lush, sweeping modulation on guitar, bass, synths, keys, and vocals. Now it has been profiled and meticulously modeled as a dedicated plug in. Insert on any mono or stereo track in your favorite DAW and instantly get the exact same fierce beauty used on countless records and rigs. Dial in your favorite vibe

Instant Vibe
Since 1985, musicians and mixers have cherished the SPX 90 and its symphonic effect for wide, lush, sweeping modulation on guitar, bass, synths, keys, and vocals. Now it has been profiled and meticulously modeled as a dedicated plug-in. Insert on any mono or stereo track in your favorite DAW and instantly get the exact same fierce beauty used on countless records and rigs. Dial in your favorite vibe with just two parameters: Modulation Frequency and Modulation Depth. It has no latency so it’s great for tracking. It supports AAX DSP so it always runs on any Pro Tools Hybrid track or Avid Live Sound system.

Monster Hit Approved
Now you can instantly insert the exact same symphonic effect that multi-platinum artists and mixers have been using for over 35 years. Famously used on bass on all tracks on Nirvana’s Nevermind. Famously used by Zack Wylde on No More Tears and No Rest for the Wicked. Famously used by J Dilla on several groundbreaking hip-hop records. The symphonic effect adds width and movement while still sounding solid.

Precise Modulation Modeling
The SPX 90 was first released in 1985 when digital effects were implemented with incredibly simple DSP hardware compared to modern standards. But Paul Neyrinck discovered why nobody has done a precise model until now. The symphonic effect uses a unique LFO modulation scheme that defies standard audio analysis. Paul had to invent custom signal processing software to try and unlock its secrets. After several iterations, he was able to profile it in great detail and built a detailed model implemented with high-precision floating point arithmetic.

V-90 also models the 31.25 kHz sample rate and 12 kHz bandwidth which are significant to its vibe. It does not model the 16-bit analog-to-digital, 16-bit digital-to-analog converters, and 16-bit delay memory so that the DAW’s 24/32-bit audio path is maintained end-to-end.

Symphonic Effect Mysteries
Is it a chorus? A flanger? Automatic double tracking? It is a separate effect category that uses LFO modulated delays. It is inspired by orchestrations that use three instruments playing the same part to make it more rich. The SPX manuals describe it as a “broad sweep effect.” Musicians and mixers love it as an effective chorus without any of the wobbly, detuned artifacts of typical chorus effects. But there is also a sweeping, textured feel that adds some drama. It can also do wide, fast modulation like a rotating speaker.

Paul Neyrinck discovered another mystery. The SPX 900 and SPX 990, successors to the SPX 90, don’t sound as good. The SPX 900/990 increased the sample rate to 44.1 kHz. But the symphonic effect did not get ported correctly to the higher sample rate. The modulation sweeps less by 30%! Needless to say, the effect lost some of its original vibe. V-90 Symphonic is faithful to the original SPX 90 symphonic effect at all sample rates.