The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT, STI) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.The issues of reverberation in acoustic architecture and in music production share the same theoretical core, nevertheless the first one has been scientifically researched in depth while the second one remains at technical and experimental crossroads. It could be stated that the ISO 3382 parameters were proposed in the “analog” era for room acoustics (actual halls), whereas the “digital” parameters introduced in software, artificial reverbs, are not standardized in any way but help to create desired reverberation for music or audio effects. The interest herein is to bind these two disciplines together and analyze some of the significant descriptors of room acoustics (RT, C50, C80, BR, ER, CT, STI) applied in plug-in reverberant processors to observe how the virtual space is affected by changing the values of different parameters. Psychoacoustic ranges of JND were applied to conclude their relevance (or rather, influence), and whether it is possible to perceive alteration. Five of the selected, popular and commercial VST reverbs are juxtaposed with five similar settings and the results of analysis might be useful for sound mixers and automated mixing algorithms.