Hi everybody. Hope you are doing marvellously well.

We are here in our satellite studio over in London, Spitfire London, and this one is going to be fun. We were sent a plugin to try called iamReverb, and rather than doing the usual thing, slapping it on a bunch of artificially dry sources, I wanted to put it in a situation where reverbs either feel believable or fall apart fast.

So we pulled up a live multitrack session recorded at Sunset Sound. Real band, real bleed, real room tone. Then we did something slightly brutal. We muted all the room mics and asked a plugin to rebuild the sense of space from scratch.

That is the point of this test. Not “does it sound pretty”, but “does it feel like a room”.

Get Into Position, Close, Mid, Far

The core idea behind iamReverb is its distance controllers, close, mid, far, which give you three listening positions that you can blend to taste. It is a simple concept that mirrors what happens in real rooms, and it lines up with how many of us mix. Verses often want intimacy, pre choruses start to open up, choruses go wide and tall.

With the distance controls you can automate that movement inside one space, rather than switching between three different reverbs. That “get into position” workflow is a big part of what makes it feel musical instead of technical.

And there is plenty to start from. iamReverb ships with over 100 presets, so you can grab a starting point and refine from there.

Fine Tuning Spatial Sound

Once you have found your spot, the plugin gives you the usual controls that actually matter in a mix.

• Predelay to keep the reverb out of the way of the source
• Decay to set the length of the tail
• Size to reshape the sense of scale
• A built in six band EQ to carve mud, add air, and keep the low end under control

That EQ is not a luxury. It is essential. On drums, particularly, I do not need the low rumble of a kick living inside the reverb return. I want the bite and the ambience, without turning the mix into soup.

What Is ERM, Enhanced Reverb Modeling

iamReverb describes the engine as ERM, Enhanced Reverb Modeling. The concept is that you are not just placing a reverb tail on top of a dry signal, you are placing the source into a spatial environment using those listening positions and the way the impulse responses behave across distance.

The technique and also that the underlying details are proprietary, however the practical result is what matters, it gives you a coherent sense of depth built around the Close, Mid, Far approach.

The Session, Jonah Smith at Sunset Sound

The multitracks came from a session I produced a few years back with Jonah Smith, featuring my good mate John Button on bass and Blair Sinta on drums. We recorded the song live at Sunset Sound in just a couple of hours. Everything bleeding into everything else in a really flattering way.

It is the kind of multitrack people use at trade shows for demos because it is honest. The room tone is part of the music. So when you mute the room mics, you instantly know whether a plugin can replace that sense of space or not.

First Impressions, Piano Was the Surprise Star

I started with the piano, grabbed a piano oriented preset, and immediately it felt natural. Not hyped, not fizzy, not detached from the performance.

The piano in this track is full of bleed and character, and the reverb did not fight it. If anything it leaned into what the part wanted musically, a slightly church like bloom that suited the gospel style chord movement.

That ended up being my favourite use of the plugin in the entire test.

Drums, Snare Space Without The Mud

Next was the obvious test, snare.

Blair’s snare is not some aggressive clangy thing, it is subtle and tasteful. So the reverb had to add depth and attitude without making the drum kit feel fake. I tried a few drum room style presets, shaped the EQ, and pushed the distance blend until the snare felt larger without losing its place.

Two key moves made it work.

1. High pass the reverb so the low end does not take over
2. Lean on mid and far to create size, then bring back top end with the EQ so it still cuts

A snare reverb done right can change your whole drum sound, even on a very plain kit. Here it did exactly that, only it still sounded like it belonged in the same room as the band.

Vocals and Backgrounds, From Chambers to Church

For vocals, the presets got me close quickly. A chamber or church style setting with a little EQ and blend adjustment was immediately in the range of something I would use in a mix.

Then I did something I often tell people not to do. I inserted reverb directly on the background vocal group rather than using a send, because I wanted the backgrounds to feel “gospy” and distant, supportive rather than upfront. In a church style preset, pushed a little harder than normal, it delivered that vibe straight away.

Maverick Quest’s Take, Realism and Tail Behaviour

We also handed the plugin to our very good friend Maverick Quest in his own workflow, working on a neo soul and jazz leaning production.

His main point was realism, particularly the tail. A lot of reverbs give themselves away in the decay, especially in sparse tracks. His impression was that iamReverb stayed convincing even when you stop playback and listen to the tail in isolation, which is often where the illusion breaks. He also highlighted how useful Close, Mid, Far is for positioning and for automation across sections.

Real-world use

iamReverb proved itself not as a flashy effect but as a genuinely musical spatial tool. The Close, Mid, and Far positioning encourages thinking in terms of placement rather than processing, making it easy to build depth that feels coherent and believable across an entire mix. Piano emerged as a clear highlight, drums gained size without low-end clutter, and vocals settled quickly into convincing chambers and churches with minimal effort. Most importantly, the reverb tails held up under scrutiny, maintaining realism even in sparse arrangements. Used on live recordings with the original room mics removed, it consistently recreated a sense of space that felt unified, natural, and emotionally supportive of the performance rather than imposed on top of it.

Trial, Lite Version, And A Practical Note

There is a 14 day trial, which is the best way to decide if it belongs in your world.

Also worth noting, iamReverb Audio released a streamlined iamReverb lite version, keeping the core approach, including the Close, Mid, Far distance controllers and the ERM engine.

The Bottom Line

Using iamReverb on a live room multitrack, with the room mics muted, is about as fair and as demanding a test as you can give a reverb plugin.

What stood out for me was this.

• The Close, Mid, Far system makes the reverb feel like positioning, not just effect
• The piano sounded naturally gorgeous very quickly
• The snare ambience was easy to shape into something that lifts the kit without low end mess
• The vocal spaces got close fast, with minimal effort
• The overall depth felt coherent, like one world rather than a collection of different reverbs

If you have already tried it, purchased it, or used it on a mix, I would genuinely love to hear how you got on.

Have a marvellous time recording and mixing, and I will speak to you all again very soon.