Manual

103 PRO X User Manual
Ambience Reverb
The ambience reverb adds warmth and depth to source material without adding
the obvious artefacts commonly associated with articial reverbs. It simulates
smaller rooms using diuse early reections with the additional exibility of
separate reverb tail level and decay control.
Reective surface materials and air absorption properties can be simulated by
adjusting the high and low frequency cut amount and high frequency damping.
Vintage Room Reverb
The vintage room reverb eect provides an incredibly natural sounding reverb
in the style of the earliest digital reverberators that became popular during the
1980s. Its strength is in recreating natural acoustic ambiences with a very warm
and dense characteristic without sounding particularly articial.
Reective surface materials and air absorption properties can be simulated by
adjusting the high and low frequency cut amount. Low frequency decay and
cross-over parameters allow relative control over the low band reverb tail length.
This can be used to either simulate real room responses, which often have a
longer decay time at low frequencies or alternatively can be useful to reduce
low frequency energy in a live environment where it may already be present due
to the natural reverberation of the venue. High frequency decay and cross-over
parameters provide additional control over the high band reverb tail length.
Chamber Reverb
The chamber reverb emulates the sound of echo chambers found in early
recording studios. This is characterised by a rapid build up of reection density
within a small to medium sized space coupled with a relatively colourless and
smooth decay.
Reective surface materials and air absorption properties can be simulated
by adjusting the high and low frequency cut amount and high frequency
damping. Low frequency decay and cross-over parameters allow relative control
over the low band reverb tail length. This can be used to either simulate real
room responses, which often have a longer decay time at low frequencies, or
alternatively can be useful to reduce low frequency energy in a live environment
where it may already be present due to the natural reverberation of the venue.
Hall Reverb
The hall reverb simulates the response of a real concert hall adding a sense of
space to the source material with less initial density than a chamber reverb. The
slower build up of reections and generally longer decay times associated with
this type of algorithm allows for increased clarity of the source, while oering a
richer more lush overall sound that is less dense in character.
This eect features contour controls to adjust the envelope shape during the
initial portion of the reverb tail and also the time over which the reection
density increases.
Reective surface materials and air absorption properties can be simulated
by adjusting the high and low frequency cut amount and high frequency
damping. Low frequency decay and cross-over parameters allow relative control
over the low band reverb tail length. This can be used to either simulate real
room responses, which often have a longer decay time at low frequencies or
alternatively can be useful to reduce low frequency energy in a live environment
where it may already be present due to the natural reverberation of the venue.
Plate Reverb
The plate reverb eect simulates the actual plate reverb devices that were used
in studios in the 1960s and 1970s. They were literally a plate of metal that was
suspended under tension with a transudcer to transmit audio to the plate while
two or more contact microphones were attached to the plate to pick up the
results. The plate reverb has a very rapid build up of reections and, as a result, is
very dense initially with a fairly smooth decay characteristic. For this reason it is
typically the rst reverb choice for percussion instruments.
Reective surface materials and air absorption properties can be simulated
by adjusting the high and low frequency cut amount and high frequency
damping. Low frequency decay and cross-over parameters allow relative control
over the low band reverb tail length. This can be used to either simulate real
room responses, which often have a longer decay time at low frequencies, or
alternatively can be useful to reduce low frequency energy in a live environment
where it may already be present due to the natural reverberation of the venue.
Stereo Graphic EQ
This Stereo Graphic EQ is a stereo version of the KLARK TEKNIK DN370 GEQ
algorithm used on PRO X’s output buses.
On its release in 2004, the KLARK TEKNIK DN370 was the latest evolutionary step in a
process of design renement that goes back over 40 years. With the DN370, KT started
from the ground up and produced a unit that was totally without compromise, and
still considered one of the nest professional graphic equalisers in the world.