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Table Of Contents
- Logic Pro X Effects
- Contents
- Chapter 1: Amps and pedals
- Chapter 2: Delay effects
- Chapter 3: Distortion effects
- Chapter 4: Dynamics processors
- Chapter 5: Equalizers
- Chapter 6: Filter effects
- Filter effects overview
- AutoFilter
- EVOC 20 Filterbank
- EVOC 20 TrackOscillator
- EVOC 20 TrackOscillator overview
- Vocoder overview
- EVOC 20 TrackOscillator interface
- EVOC 20 TrackOscillator analysis in parameters
- Use EVOC 20 TrackOscillator analysis in
- EVOC 20 TrackOscillator U/V detection parameters
- EVOC 20 TrackOscillator synthesis in parameters
- EVOC 20 TrackOscillator oscillators
- EVOC 20 TrackOscillator formant filter
- EVOC 20 TrackOscillator modulation
- EVOC 20 TrackOscillator output parameters
- Fuzz-Wah
- Spectral Gate
- Chapter 7: Imaging processors
- Chapter 8: Metering tools
- Chapter 9: MIDI plug-ins
- Chapter 10: Modulation effects
- Chapter 11: Pitch effects
- Chapter 12: Reverb effects
- Chapter 13: Space Designer convolution reverb
- Chapter 14: Specialized effects and utilities
- Chapter 15: Utilities and tools
- Appendix: Legacy effects
Chapter 12 Reverb eects 235
PlatinumVerb reverb parameters
PlatinumVerb provides the following reverb parameters.
PlatinumVerb reverb parameters
•
Initial Delay slider and eld: Drag to set the time between the original signal and the diuse
reverb tail.
•
Spread slider and eld: Drag to control the width of the reverb’s stereo image. At 0%, the eect
generates a monaural reverb. At 200%, the stereo base is articially expanded.
•
Crossover slider and eld: Drag to set the frequency used to split the input signal into two
frequency bands, for separate processing.
•
Low Ratio slider and eld: Drag to determine the relative reverb times of the bass and high
frequency bands. It is expressed as a percentage. At 100%, the reverb time of the two bands is
identical. At values below 100%, the reverb time of frequencies below the crossover frequency
is shorter. At values greater than 100%, the reverb time for low frequencies is longer.
•
Low Freq Level slider and eld: Drag to set the level of the low frequency reverb signal. At 0 dB,
the volume of the two bands is equal. In most mixes, you should set a lower level for the
low frequency reverb signal. This enables you to boost the bass level of the incoming signal,
making it sound punchier. This also helps to counteract bottom-end masking eects.
•
High Cut slider and eld: Drag to lter frequencies above the set value from the reverb signal.
Uneven or absorbent surfaces—wallpaper, wood paneling, carpets, and so on, tend to reect
lower frequencies better than higher frequencies. The High Cut lter replicates this eect. If
you set the High Cut lter so that it is wide open (maximum value), the reverb sounds as if it is
reecting o stone or glass.
•
Density slider and eld: Drag to set the density of the diuse reverb tail. Ordinarily you want
the signal to be as dense as possible. In rare instances, however, a high Density value can color
the sound, which you can x by reducing the Density slider value. Conversely, if you select a
Density value that is too low, the reverb tail sounds grainy.
•
Diusion slider and eld: Drag to set the diusion of the reverb tail. High Diusion values
represent a regular density, with few alterations in level, times, and panorama position over
the course of the diuse reverb signal. Low Diusion values result in the reection density
becoming irregular and grainy. This also aects the stereo spectrum. As with Density, nd the
best balance for the signal.
•
Reverb Time slider and eld: Drag to determine the reverb time of the high frequency band.
Most natural rooms have a reverb time somewhere in the range of 1 to 3 seconds. This time is
reduced by absorbent surfaces, such as carpet and curtains, and soft or dense furnishings, such
as sofas, armchairs, cupboards, and tables. Large empty halls or churches have reverb times of
up to 8 seconds, with some cavernous or cathedral-like venues extending beyond that.