I installed it into my Pro Tools HD rig here at my Tones 4 $ Studios and found all four plug-ins perfect for all the reverb needs I could ever have. Suffice it to say if you wanted to buy just one great reverb plug, this should be it.

I was impressed with all four plug-ins in the bundle but I am especially interested in good rooms--good ones seem the hardest to come by in reverb synthesizers--software or hardware.

For a Rock record that was to sound like it was recorded in a club, I wanted to surround each of the individual tracks with an appropriate space that exactly fit the musicality of the part. For a chugging rhythm guitar I wanted a short wooden room and I used a patch called Master Bedroom in the Small Spaces category. This reverb treatment added a bigger "size" with a broader footprint to the guitar's sound yet without sounding reverby and wet.

Each of the reverb plug-ins arrange all presets into three categories, small, medium or large--with the exception of the Hall reverb with its Small Spaces, Small Halls, Medium Halls, Large Halls and hyperbolic Huge Halls categories.

Next in my mix came the drum kit and it already had a short ambience via a stereo-recorded room mic pair so I found a plate preset in the Plate reverb plug-in called Blue Plate. I lengthen the RT (mid-range frequency reverb decay time) to 1.4 sec and added small amounts of left and right Reflection Delays of 160ms and 162ms with no feedback. This delay adds the sound of a subtle slapback off an (imaginary wall) in a room and colors the bright Plate reverberation. The drums took on a more unique stage sound--live and a little splashier in the high frequencies.

Normally I set up reverbs and delays on Aux sends and returns but I found LXP to work well as an inserted effect too. Inserted reverb on a track adds the most when it is placed before (pre) other processing I'd probably do anyway. Each plug-in will run in mono, stereo or mono in/stereo out so LXP makes a good way to turn mono recordings into stereo spreads.

The LXP's ambient treatment was blended with the original sound of the drum kit and EQ'd or compressed making it a more cohesive whole sound to my ears. I liked that the Wet/Dry control stays put when toggling through different categories and presets plus the 3-D multi-dimensional real-time display (a smaller version of the one in the high-end Lexicon PCM Native Reverb bundle) shows three different views of everything that is going on with the reverberation--even sonic components I can't hear! You can see the effects of changing the more arcane reverb parameters such as RT HiCut, BassRT or Shape and Spread.

When setting up a mix and programming reverbs to establish and create a sound stage, to try and describe what I am looking for is impossible--I just know when I hear it. With LXP it was scary that within two or three presets I was 99% there--a couple tweaks and I had a great reverb sound that just worked and felt great in the mix.

As a recording engineer, I'm right at home with the "virtual" LARC remote GUI but someone new to reverb programming will have no problem either. Between the many presets to get you close and the excellent manual, you'll be creating and storing your own presets of rooms, halls, plates, and chambers every time you use it. Just the way I've already started with my own presets that I can offload, store and take to any studio and use in their system--sweet!