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Chapter 11 Reverb 127
Early Reflection Parameters
 Predelay: Determines the amount of time between the start of the original signal,
and the arrival of the early reflections.
 Room Shape: Defines the geometric form of the room. The numeric value (3 to 7)
represents the number of corners in the room. The graphic display visually represents
this setting.
 Room Size: Determines the dimensions of the room. The numeric value indicates the
length of its walls—the distance between two corners.
 Stereo Base: Defines the distance between the two virtual microphones that you are
using in the simulated room. Spacing the microphones slightly further apart than the
distance between two human ears generally delivers the best results. More realistic
results can be obtained if you choose to use the distance between two ears located
on opposite sides of the same head. This parameter is only available in stereo
instances of the effect.
Reverb Parameters
 Initial Delay: Sets the time between the original signal and the diffuse reverb tail.
 Density: Controls the density of the diffuse reverb tail.
 Diffusion (Extended Parameters): Sets the diffusion of the reverb tail.
 Reverb Time: Time it takes for the reverb level to drop by 60 dB.
 High Cut: Frequencies above the set value are filtered from the reverb signal.
 Spread: Controls the stereo image of the reverb. At 0%, the effect generates a
monaural reverb. At 200%, the stereo base is artificially expanded.
Setting Predelay and Initial Delay
In practice, too short a Predelay tends to make it difficult to pinpoint the position of the
signal. It can also color the sound of the original signal. On the other hand, too long a
Predelay can be perceived as an unnatural echo. It can also divorce the original signal
from its early reflections, which leaves an audible gap.
The optimum Predelay setting depends on the type (or envelope) of signal. Percussive
signals generally require shorter predelays than signals where the attack fades in
gradually. A good practice is to use the longest Predelay possible before you start to
hear undesirable side effects, such as an audible echo.
If you’re going for a natural-sounding, harmonic reverb, the transition between the
early reflections and the reverb tail should be as smooth and seamless as possible. Set
the Initial Delay so that it is as long as possible, without a noticeable gap between the
early reflections and the reverb tail.