User Manual

12
Reverb Algorithms
ROOM
Fast build-up with multiple initial reflections.
HALL
Emulates a concert hall. Slow build-up with a longer initial delay.
CATHEDRAL
Emulates a large, reflective space.
GATED
Gated reverb with nonlinear decay. Known for big drum sounds, gated reverb also works well on guitar
because you can add more reverb while keeping transparency and space between notes.
REVERSE
Reverse reverb. Reflections get louder and brighter as time passes, giving the impression that the sig-
nal is played backwards. Typically used with 100% wet signal.
Modulation knob adds a wash of forward reverb.
PLATE
Emulates studio plate reverbs, which use plates of thin sheet metal to create reflections. Bright and
dense sound, good for drums, guitar, and vocals.
Modulation adds rich stereo chorusing. For more "bend", increase the modulation rate to approximately
1:30.
SPRING
Spring reverb. It is not a model of a specific spring reverb. The Context 2 simulates a spring reverb us-
ing the algorithms and techniques used in 1980's reverbs, but with more processing power available.
Low decay settings work well for vocals, bass, and addnig subtle ambience to your instrument without
an obvious reverb eect. Middle settings match spring reverb settings on guitar amplifiers. At higher
decay settings, the decay time is extended and it starts to sound a little unnatural.
GRAIN
A granular reverb with some similarities to the Ursa Major SST-282 Space Station. With mod knob at
zero, it sounds like a modulated multi-tap delay. With low modulation, long decays become ghostly voic-
es. As the mod knob increases, the character of the modulation changes and then the sound begins to
pull apart.
The Ursa Major SST-282 Space Station, released in 1978, was an eects processor that used a single
delay line with modulated taps to create reverb eects. The Context 2 can produce the same kind of
ghostly reverb eects, but is not a direct model.