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EFFECTS MENU 741
 EQ low/high: Allows you to "pre-filter" the signal before adding reverb. The filters have
shelving characteristics. The trigger frequencies vary according to the model type.
 Predelay: Determines the delay time for the actual reverb process. This parameter is
ideal for fine tuning in order to convey a feeling of "distance" or "isolation".
 Size: Determines the room size. Moving the slider to the left means the smallest size,
moving it to the right extends the reflection times. Smaller "Size" settings also reduce the
distance between the individual reflections. Resonance may also develop due to the
short temporal distance between them. Increasing the size of the room creates more
space,but this also means that the so-called "modal density" decreases, i.e. more time
will pass before the impression of a confined room develops.
 Diffusion: With this parameter, you can simulate diffusion on irregular walls and objects.
The higher the value, the softer and fuller the reverb sounds.
 ER absorption: VariVerb calculates 16 initial reflections (compiled to 8 in the display).
This controller lets you specify how broadly the last ones are weighted. A lower value
results in a more "lively" sound impression, although this may also have a more intrusive
or unsettled effect. A higher degree of absorption indicates a smaller amplitude as well
as damping of highs.
 ER tail: The mixing ratio for the early reflections and subsequent reverberation. These
reverberations are decisive for perception of the room size. Mixing them into the actual
reverb improves the possibility of locating voices or instruments. Missing reflections at
the start often result in "spongy" sound characteristics without orientation in "room" and
"depth".
 Decay: The reverberation time. Use this controller to define how fast the reverb tail will
be absorbed, i.e. the time for the reverb to ring out. Turning this knob to the left
minimizes the time, you might only hear the first reflections. Turning the knob to the right
minimizes damping and results in long, sustained reverberation.
 High freq: The threshold where the "high damp" effect starts.
 High damp: Allows you to influence the frequency-dependent absorption of the reverb.
A higher value dampens the highs and upper mids similar to the absorption effect of the
air and in particular the material composition of walls.
 Width: Specifies the width of the stereo effect. If set to left, the reverb is monaural.
Plate
A real plate reverb consists of a large metal plate (often 0.5 to 1 m² or more), that is
activated by a magnet and coil system (similar to a loudspeaker). The plate is normally
hung on springs so that it is able to oscillate freely. Various types of damping are possible
to reduce the reverb time. The reverb plate features so-called "taps" at various locations.
These are sound pickups similar to those on a guitar. Several of these taps are combined
to produce a full signal. Reverb plates are usually mono, i.e. a stereo signal is added to the
plate as a sum. A (pseudo-)stereophonic signal is created by combining taps and their
position on the plate.
Real reverb plates are only rarely used today and have been almost entirely replaced by
software simulation. The sound continues to be very popular due to the very dense sound
(high diffusion) and inaudible discreet echoes. They are therefore ideal for percussive
material. In case of vocals, a plate reverb generates a smooth, warm effect. The slightly
"metallic" resonance of a plate can also be used to generate a vintage effect.