Acoustics

For service, support or more information contact the TC ELECTRONIC location nearest you:
Europe
MUSIC Group Services UK
Tel: [phone]
Email: [e-mail]
USA/Canada
MUSIC Group Services NV Inc.
Tel: [phone]
Email: [e-mail]
Japan
MUSIC Group Services JP K.K.
Tel: [phone]
Email: [e-mail]
MUSIC Group accepts no liability for any loss which may be suered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein.
Technical specications, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK,
LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd.
© MUSIC Group IP Ltd. 2017 All rights reserved.
High-Denition 19 Rack Unit with
24 Channels of Simultaneous Uncorrelated
Reverb Supporting Extreme Surround Formats
Multi-Eects Processors
REVERB TWENTYFOUR
Page 4 of 4
• In order to ensure maximum de-correlation of the audience
speakers, use the E1, E2, and E3 - REV pages and adjust the No of
Channels and Assignment parameters so they are set dierently
in all 3 engines.
Note: the E1, E2, and E3 engines have “Bottom,” “Mid,” and
“Top” settings respectively, in order to have the de-correlation
set to “max”. This may not fully reect the physical setup, as this
will vary between venues, and therefore other settings for the
"No of Channels" may be better in some cases,
(see the manual for more details).
• This means that the reverb eld at the audience seats is
extremely even and it is dicult to point out the individual
speakers. As mentioned before, the lack of any comb ltering
and phasing issues between the reverbing speakers also results
in maximum headroom before acoustical feedback to the stage
microphones, which also gives the ability to use less directive
microphones over the stage.
• The stereo inputs are randomly but statically routed across the
24 reverb channel inputs. This is done to ensure there is an even
reverb eld, with very little Left/Right-specic information at the
audience seats. Dierent input routing in the Reverb TwentyFour
can also accommodate input formats such as 5.1 and 7.1.
• A venue might not always be full at every show. Therefore it
may be a good idea to make more presets for a full venue,
and a ⁄-full venue etc. The rear speakers could be turned down
or o with a ⁄-full venue, and the decay time could also be set
shorter, and the coloring set a bit darker in this case.
General Notes About Changing Acoustics
• As a rule of thumb, you may be able to extend/prolong the decay
time of a venue by a factor of 2 from its original time using the
Reverb TwentyFour.
• An A-B microphone setup using wide cardioid microphones like
the DPA 4015 is a good solution for picking up stage sound.
• Often you may need to introduce a multiband compressor with
soft settings prior to the reverb channels, to catch fast transients
from the stage that may sound slightly articial by the time they
reach the audience.
GPI Control
• The GPI input of the Reverb TwentyFour may be used to select
the preset so it does not take a highly-educated engineer to set
up the suitable decay time for a specic show. A custom made
push-button GPI box may be made for the specic installation to
easily change the presets.