Lexicon 224 Reverb – The Verb I’ve Been Searching For

I think I can finally say it: the Lexicon 224 reverb is the one. The sound I’ve been chasing for decades of making and mixing music.

People often say Lexicon reverbs don’t sit on top of the sound–they extend it into the space. That’s exactly how I’ve always heard them. But even after trying different Lexicons through the years, I was never fully satisfied. I could hear the shape of what I wanted, but the picture never came into focus.

Then I tried UAD’s Lexicon 224.

Immediately, it hit me: this was different. I heard the familiar Lexicon character–but this time it had an extra gloss, a fullness, a richness I instantly recognised. And the more I used it, the more I realised something: I already knew this sound.

This wasn’t a new discovery–it was recognition. The Lexicon 224 had been with me all along. I’d heard it on the records I grew up with, the mixes that felt larger than life but never artificial. I’d heard it on classic tracks where the reverb didn’t pull you away from the music, it pulled you deeper in.

It had been shaping my ears and my taste subconsciously for years.

Why the Lexicon 224 Reverb Stands Apart

Part of what makes the 224 legendary is its algorithms. Unlike natural rooms, the Lexicon was designed to create an idealised space–something better than reality.

• Concert Hall – Smooth, lush, and deep. This is the sound that defined so many ’80s ballads and film scores.

• Plate – Bright and present, with a tone that gives vocals and snares that shimmering edge.

• Chamber – Denser and more lively, a tighter space with personality.

• Room – Natural, but still with that Lexicon polish.

The UAD emulation doesn’t just recreate these algorithms–it captures the quirks of the original 1978 hardware, right down to the modulation and the grain in the tails. That’s why it feels alive, not sterile.

The Recognition Moment

That’s why using the 224 didn’t just sound good–it felt familiar. The reverb sat in the mix exactly as I remembered hearing it on records since childhood. It was the same sound I’d admired without ever naming it.

I’ve used plenty of other reverbs over the years. The Bettermaker BM 60, inspired by the PCM 60, does a brilliant job of integrating sound into a mix. And the Bricasti M7 is still on my dream list–something I’d love to own one day. But the 224 has something different. Something unmistakable.

With UAD’s Lexicon 224 reverb, it feels like the long search is finally over–or at least, I’ve found the core sound I’ve been chasing all along. The Bricasti still calls to me, but for now, I’m more than happy living inside the 224’s space.