11.0

598 EFFECTS MENU
• 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 time by which the actual reverb process is delayed. 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 leftmost position means the
smallest size, moving it to the right extends the reflection times. Smaller "Size" settings
also reduce the distance between the individual reflections. However, resonances may
also develop due to the short distance in-between. Increasing the size of the room
creates more space; however, it also means that the so-called "modal density"
decreases, i.e. more time will pass before a feeling of density arises.
• Diffusion: With this parameter you can simulate diffusing at 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 far the last ones are weighted. A lower value results
in a more "lively" sound impression, although it can also have a more intrusive or
unsettled effect. A higher degree of absorption means a smaller amplitude as well as
damping of highs.
• ER tail: The mixing ratio of the first reflections (early reflections) and subsequent
reverberation. These reverberations are decisive for perceiving 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: With this controller you can define how far the echo will be absorbed, that is, the
time for the reverb to die away. 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 corner frequency at which damping 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 reverb plate consists of a large metal plate (often 0.5 to 1m² thick or more), that is
put into motion by a magnet and coil system (similar to a loudspeaker). The plate is usually
spring-mounted on a steel frame so that it can swing freely. There are various types of
dampening and thus reduction of the reverb time. On the reverb plate, so-called "taps" are
positioned at different locations. These are pick-ups comparable to those on a guitar.
Several of these taps are combined to make up a full signal. Reverb plates usually are
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 nowadays and have been almost entirely replaced
by software simulation. They continue to be highly popular due to the very dense sound
(high diffusion) and inaudible discreet echoes. They are therefore ideal for percussive
material. With vocals a plate reverb generates a smooth "good-feeling" effect. The slightly
"metallic" resonance of a plate can be used to generate a vintage effect.
Parameters:
• EQ low/high: See room/reverb