In this Instagram post by Nicolas Errèra, we can see Nicolas Errera using Altiverb

4:26 they use altiverb

Used on Bocelli's vocals for "Fall On You", as mentioned by sound engineer Justin Cortelyou in this February 2019 Sound on Sound interview.

At the bottom are three aux effect tracks, with Valhalla Plate, Audio Ease Altiverb (on the Haydn Hall preset), and UAD EMT 140 reverbs. Notable in the session is that by far the most plug-ins are used on the two vocal tracks. (...) "All three aux reverbs were used on Andrea's main vocal track, as well as on Matteo's vocal tracks, because the reverbs each have different characteristics and it was all about getting the right blend. The Haydn Hall makes it sound a bit more like in the big hall at AIR, and the Valhalla Plate is a little brighter and not as dense. The EMT adds some warmth. We always played around with these three to get the right combination of colours. I had this vocal chain on Andrea's vocal in every song on the album, though there will have been slight differences in settings."

"One of my go-to bits of gear when mixing is the Altiverb EMT 140 Wendy Carlos plate reverb. It's by no means the only verb I use, but if I'm not trying to sit the various elements in a room that others are sat in, then this is pretty much what I get up first. I'll often use the pre-delay that comes with the plugin, or put my own delay in front of it. If I want something with a little more movement, I'll chuck a tape delay before the Altiverb. It's a really lovely reverb. We’ve also used Altiverb to make an impulse response of the big room at Blueprint, which has come in handy now and again as we have used that room quite a bit over the years."

Mentioned in this May 2019 Sound on Sound interview.

Ryan Elder has learned to wring a lot out of a little, digging deeply into the software to find what he wants. "These sample libraries are extremely powerful; you can utilise basically every knob on your keyboard. A lot of them have keyswitches where you can change articulation. So, say I've got my cellos playing an arco [bowed] section, very long notes. Then, I'll use C1 to trigger the long notes. Then I need to do a short section, I'll use C#1, which triggers the short articulation. So you get a lot of power and flexibility out of these libraries by using these keyswitches and then using the mod wheel for dynamics and swells. The dynamics are important, as is the actual recording of the instruments playing [at different volumes], which makes it sound more real. The expression wheel adds a secondary dynamic layer.

"Some of [the sample libraries] are just absolutely spectacular and have a lot of the sort of textures and sounds and the ability to manipulate them in a way that is original to whatever I'm creating. In particular, some of the ones I use a lot are made by Project SAM. They have several libraries called Symphobia, which have a lot of the textures and kind of orchestral palette that I use. All the Project SAM stuff works really well together because it's all recorded on the same stage with the same mics and the same reverb and other processing, so it blends well together. Then, there's other libraries I really like — Cinematic Strings is really good for the strings; CineBrass for the brass is really good. They have a lot of the instruments and all the articulations that you would want.

"In the mix, I'll put an Altiverb [reverb] on a bus and I'll bus each individual orchestral element to a different level until it blends nicely. I use the Massey L2007 plug-in as my hard limiter for mastering. For Rick And Morty, a lot of the orchestral stuff sounds so good just right out of the sampler that I don't tend to use too much EQ on the individual instruments themselves. But if I need to make something pop, or I need a little more rosin on the bow, I tend to go to the Focusrite EQ plug-in a lot, just because I know it pretty well."