This is especially true of the Decay Rate EQ, where even curves that look terrifying often yield highly usable results. The clever design means not only that a handful of controls open up endless sonic possibilities, but that it’s also very hard to make Pro-R sound bad. It’s as adept at cathedrals and churches as it is at small spaces, and most of all, enables you to get good sounds quickly. In fact, although it doesn’t sound especially Lexicon-esque, I’d say Pro-R has the same strengths as some of the high-end Lexicon reverbs: given a source sound and a mix into which it needs to be bedded, it makes the process of finding a setting that works effortless.
