Lewitt Audio: Space Replicator plug-in

REVIEWED BY Adam Kagan


LEWITT, the respected Austrian manufacturer known for its microphones and audio interfaces, has released its first plug-in: Space Replicator. Designed for headphone use, Space Replicator lets users experience how their audio would sound when played through speakers in various virtual environments. Unlike a reverb plug-in, it doesn't simulate reflections or ambience; it replicates the spatial and directional cues of real-world speaker playback, using advanced HRTF (head-related transfer function) modeling rather than a synthetic representation of listening spaces.

To get started, Space Replicator is inserted on the DAW’s master fader or monitor output bus. Once loaded, the plug-in walks each listener through a brief set up process to create a personalized profile. Users can skip this step and choose a generic profile, but customizing the experience will provide more accurate results. The configuration process directs users to LEWITT’s website for a brief stereo imaging listening exercise, which is used to generate a custom HRTF profile based on headphones and head shape. After the configured profile is synced to the plug-in, users can explore the available virtual spaces.

Space Replicator emulates, over headphones, the sound of a mix played through speakers in a specific acoustic space. This plug-in includes a curated selection of professional studios (some offering multiple speaker configurations); everyday listening environments, such as Living rooms, and Cars; and playback through TVs, smartphones, or Bluetooth speakers. Users can even hear how their mix might sound in iconic venues such as Berlin’s now-closed Watergate club. LEWITT plans to expand the collection of environments in future updates. Interestingly, the plug-in also includes simulations of several popular headphones and earbuds.

While setting up my profile, I realized that Space Replicator compensates for the selected headphone model, so I needed to disable my headphone correction software (SoundID Reference) to avoid conflicts. The HRTF profiling process was new to me, so I ran it several times, saving four profiles to compare results. The profiling process only takes a few minutes and is worth repeating so users can better understand what they are listening for while making choices.

With my profile configured, I began exploring how these environments affected both commercial tracks and my own mixing process. I found several environments convincingly accurate for music playback, especially the Car, Living room, and Watergate club simulations. When mixing or mastering on headphones, I prefer a virtual mix room that closely resembles my control room and monitors rather than a space I’ve never been in. The control room choices offered in the plug-in provide a variety of perspectives, and the Vienna Synchron Stage A with midfield speakers effectively reflected the sound of my mix room. Other rooms ranged from warm and cozy (White Sea Studio) to highly ambient (Synchron Stage with far-field speakers). Depending on taste and experiences, users will likely find a space that is meaningful for both recreational listening and more critical production tasks. 

For casual listening, the plug-in can make you forget that you’re wearing headphones. While building a mix, I do perceive a more accurate sense of panning using Space Replicator, but I’m on the fence about making critical balance, EQ, and especially time-based effects decisions while listening in a virtual space. Ultimately, I found the spaces quite useful for an additional layer of mix-checking, and I can imagine producers and artists without a properly treated listening room enjoying working entirely “inside” the virtual spaces.

Several other plug-ins offer similar functionality, but the effectiveness of any digital special tool depends heavily on the underlying acoustic modeling and translation. LEWITT's Space Replicator has done an excellent job virtualizing listening in various environments, offering an affordable option to gain multiple perspectives during the mix process. I look forward to any new spaces they provide.

Tape Op is a bi-monthly magazine devoted to the art of record making.

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