Any help would be much appreciated. I have recently installed Valhalla Plate Reverb (not the demo version). I find that the reverbs have a slight background boominess that I am trying to remove. Perfect Space used to be my goto plate reverb for vocal and was easily modified to achieve a very clean plate reverb. However, it is 32 bit (my system is 64 bit) and I suspect is causing me the odd pop or crackle. Apart from that I am happy with it. In Valhalla Plate, I have tried various changes to Mode and Presets but I can't achieve the clean reverbs that are demonstrated on the YouTube videos. Also, the videos always show the Valhalla Plate Mix at 100% but I need to reduce this considerably to achieve any kind of acceptable plate for Vocal. There are no pops when Perfect Space is removed. I've also tried Breverb but find better results with Perfect Space. Am I missing something - is there some setting in Sonar Platinum that I should be adjusting?

I love Valhalla Plate and the other reverbs he has released. 
 
The reason for the 100% mix is because they are often inserted in to buses and then sends added to any tracks that you want to pass through the reverb. I find it really easy to change the controls on the plugin and pull the mix down. There are also EQ controls on the plugin so you can fine tune.

It's fairly common practice to EQ a reverb, either with the internal controls or with a separate EQ after the fact. If you can identify this "boominess" you should be able to EQ it out.

Put it on a bus and place a send on the track you want to 'verb. Then you can EQ the reverb separately from the track.
 
Dan

ValhallaPlate is emulating a physical device, and plates do tend to be a little boomy by nature. If you could step into a time machine and pop in to a 70's-era session with a real plate reverb, you'd almost certainly see a filter in front of it. The standard setup at EMI was, IIRC, to high-pass at 500 Hz and low-pass at 3 or 4 KHz, a pretty narrow bandwidth. Fortunately, there's no need to add a separate equalizer to accomplish this with VPlate, as high- and low-pass filters are built in to the plugin. Try setting the LowFreq knob to 500 and LowGain to -6 dB and work from there.
 
Also try the different ValhallaPlate "metals". This is where the plugin deviates from plate emulation, going off into realms the original hardware was incapable of. The mode names (steel, aluminum, etc.) are meaningless, but as you select them you'll see a description of their characteristics below. They vary in attack times, density of reflections, and frequency linearity. Try the "Copper" mode, for instance, on vocals. Or "Aluminum" if the reverb's too dark.

I know ValhallaPlate has EQ built in, but is it really the same thing to EQ the signal going in as it is to EQ the signal going out? I had presumed they were a fundamentally different concept, although to be fair I've never sat down and A/B'd the two. My default template has reverb buses already set up with a HPF at 500Hz and a LPF at 10KHz, before the reverb, that's just how I've always done it, although I will sometimes add an EQ after the verb to take out some frequencies with a bell curve (300-500Hz is where I find most frequency masking/muddiness occurs so I usually take out something around there).

Thank you very much everyone. These were all very helpful. I had tried the EQ within Valhalla Plate and will continue to experiment with various options that you have suggested. Great and as always so helpful - thank you.
 
 

You're right, sharke: which end you put the EQ on does make a difference. One way changes the spectrum of what the reverb sees and the other changes the spectrum of what the reverb produces.
 
When you filter its input, you're limiting which frequencies get emphasized/blurred while not affecting how the reverb works. HPF at the output simulates what happens in an acoustical space, where high frequencies tend to be attenuated through absorption, by both air and the materials the sound is bouncing off of. HPF at the input is more useful for de-emphasizing plosives and transients. You can usually make more drastic changes on the input side and still be transparent.
 
So whether you put your EQ at the front, at the back, or both depends on what you're trying to accomplish. VPlate's filters, as with all reverbs I'm familiar with, are on the back end. So yeh, the OP might need to also insert an EQ in front of it - if the problem is that the source material is boomy. But given that his complaint is about the sound of the reverb itself, the internal filters should do the job.

bitflipper
When you filter its input, you're limiting which frequencies get emphasized/blurred while not affecting how the reverb works. HPF at the output simulates what happens in an acoustical space, where high frequencies tend to be attenuated through absorption, by both air and the materials the sound is bouncing off of. HPF at the input is more useful for de-emphasizing plosives and transients. You can usually make more drastic changes on the input side and still be transparent.
 

 
You mean LPF right? After all these years I still have to mentally think about which is which. 

No he means HPF. A high pass filter, meaning the low frequencies (plosives etc) are cut.

EDIT: Although the first time he mentions HPF I do think he means LPF.