Bricasti is the best reverb when you want to enhance the sound of real acoustic ensembles or tailor hall for film or video game score orchestra (along with flavor reverbs, like Eventide, for otherworldly effects). When you need full spatial preservation and of bass frequencies for example - a lot of reverbs fail at this.
Or a room for a drum set or stage for a soloist, when you want a naturalistic sound with meld and bloom of controllable early (“early select”) reflections (not just simple delay lines), and not a parallel-compressed blown out car commercial rock sound a la Black Keys.
I think that is a pretty big category to excel in. TC VSS4 no slouch either with early reflection control.
Most of the older reverbs have rather pedestrian early reflection control and like convolution can be very hit or miss in the above scenarios, or simply color the sound too much for the genre, like classical piano, for instance.
If you don’t work in above categories, then you’re not going to appreciate the utility the way people who do do. The point is entirely different. You don’t fit an orchestra or string quartet “in the mix,” you are working with actual stereo mic capture with spot mics, not a bunch of panned mono sources, or shelved overheads and so on. Go to vi-control and ask them what they think. Or ask foley artist.
Fortunately, Bricasti is making a newer cheaper M200 box for more fx uses, and they have responded in past to user input for certain algorithm styles. That should be more fun if it ever comes out, and would probably work better for electronic too.
I love all good reverbs for different reasons. But that said there are superior designs for emulating real spaces.
