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REVERB
Real life reverberation is the result of sound reflecting off surfaces in a room or hall. It can best be described as mil-
lions of small echoes that decay over a period of time.The size of the room, the surface type of the walls, or the car-
pet on the floor all contribute to the way real reverberation behaves and sounds.
WHEN DO I USE REVERB? When recording in the studio, nearly always. Many guitar tracks, for example, are
recorded in a very sterile environment (i.e. very dry), but adding reverb can add lush depth to any guitar track.
WHY SHOULD I USE STEREO REVERB? It is all about sounding natural. Since more and more parts of
music are recorded in stereo, it sounds best to help them maintain their original images. Stereo reverb helps main-
tain that original stereo image. But don't forget that millions of hit recordings were made using mono input
reverbs that created a stereo output image.The theory is that sound generally originates from one point in a
room, so mono often works just fine.The rule? Don’t get caught using too much reverb on your guitar in live situ-
ations. Even if the room is small, it still produces some reverb.Too much makes the guitar go away. Let it compli-
ment the room.
GATED REVERB
Gated reverb doesn't behave as naturally as the standard varieties of reverb. Originally, it was created by taking a long,
dense reverb and chopping it short with a noise gate.This made for a burst of reverberation energy that could help
thicken up a variety of sounds.
Digital signal processing techniques improved and soon allowed ways to create similar gated reverb sounds that were
far more usable and flexible.Today's gated reverb doesn't get gated at all, it just sounds like it does. It is actually a large
burst of delay taps that create the gated reverb sound.This allows you to chose the length of the effect along with dif-
ferent slope shapes.
WHEN DO I USE GATED REVERB?Using a gated reverb in a multi effect guitar application is ideal for pro-
ducing unusual special effects. Using the Gated reverb can give any guitar the “Swell” sounds.This type of reverb is
also ideal for producing an effect that is similar to backward masking.
REVERB PARAMETERS:
FX: Lvl Controls the signal input level fed to the Module. Ranges from Off to 100%.
Dry: Lvl Controls the level of the dry (uneffected) signal. Ranges from Off to 100%.
Balance Controls the left/right positioning of the dry signal in the stereo soundfield. Ranges from -99
(all left) to 99 (all right).
Type Selects the reverb type. Each room type has a different decay range (just as real rooms do),
so changing TYPE also changes the decay time of the room.Types are: Studio Room,Wood
Room,Vocal Plate, Concert Hall, Plate Reverb, Chamber, Cathedral, Arena, Cement Shelter,
and Infinite Spring (for Reverbs), and: Flat, Shelf, Decaying Linear, Decaying Logarithmic,
Decaying Exponential, Decaying Sine, Reverse Linear, Reverse Logarithmic, Reverse
Exponential, Reverse Sine, Peaking Linear, and Peaking Exponential (for Gated Reverbs).
Density Controls the number of discrete room wall reflections during the early portions of DECAY.
Higher settings produce more reflections while low settings yield fewer initial wall echoes.
Use this control in conjunction with DISPERSION to build or reduce the thickness of early
reflection clusters heard near the beginning of the reverberation. Ranges from 0% to 99%.
Dispersion Controls the distance (time) between the echoes set by DENSITY. If DENSITY is set low
and DISPERSION is set high, the initial room echoes. Dispersion can be heard as discrete
echoes followed by smoother room reverberations. Set DISPERSION low for a dense clus-
ter of reflections during the early portions of DECAY. Ranges from 1 to 5.
Diffusion Simulates the presence of different room materials by controlling the smoothness of rever-
berations through the course of DECAY. Low DIFFUSION settings are great for simulating
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