Acoustics

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High-Denition 19 Rack Unit with
24 Channels of Simultaneous Uncorrelated
Reverb Supporting Extreme Surround Formats
Multi-Eects Processors
REVERB TWENTYFOUR
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The Reverb Preset Settings:
• Reverb level is important and it should be adjusted individually
for each installation. There is a ne balance between “hearing”
the reverb and making it “t” the venue and music genre.
• Engine 1 (E1) handles the side speakers, E2 handles the 2 rows of
ceiling speakers closest to the stage, and E3 handles the rear
2 rows (see the speaker layout diagram on page 2).
• Using the Frame - E1-3 page, the Output Level parameter can be
used for fast adjustment of the audience speaker level. Use the
Mute button to switch the reverb o for comparison (it turns o
the Wet signals only).
• The Frame - E1-3 page shows a fast overview of each engine.
The parameters shown here are chosen in each engine so you
have fast access to the most commonly used parameters in an
acoustics controlling installation.
• Trim delays are adjusted for all speakers to compensate for the
physical distance from PA front to the 4 speaker rows.
• Predelay is not included in the factory presets, but may be
added to include the Haas eect, for example 20 ms. This could
enhance the details coming directly from the stage and give the
ability to increase the overall reverb level without muddying the
sound image.
• Ceiling speakers are reduced by 4 dB to help prevent a
“reverb raining eect.”
• Row 3 and 4 (including the side speakers) are adjusted for slightly
shorter Hi-frequency decay time and lower Hi-Cut, to create a
slightly darker-sounding rear venue.
• The overall reverb sound and coloring is carefully tuned in
existing venue installations where dierent decay time for
classical music (typically 2.2s), opera and piano (typically 1.8s),
bigband and jazz (typically 1.2s), 0.8 and 2.7s are included.
The sound of the venue itself, the microphones picking up the
sound over the stage, plus the speakers themselves, makes a
dierence to the combined sound of the system. Therefore,
individual system and reverb adjustments may be needed to
make the reverb “t” the venue.