User Guide

170 CHAPTER 16
Parameter of the effects menu
REVERB COLOR
This parameters influences the
room’s static frequency response.
Natural reverb will always have
some high-frequency attenuation
since the sound bounces off at
least one wall. REVERB COLOR is
identical to DELAY COLOR; here
you’re dealing with a variable filter
that can act as a low-pass filter
(negative control range) as well as
a high-pass filter (positive control
range). For a natural-sounding
room simulation, you should
always set REVERB COLOR to a
slightly negative value to dampen
the higher frequencies of the room
signal. This will make the effect
sound more authentic and the
room sound warmer. You can, how-
ever, opt to create interesting arti-
ficial-sounding effects by cutting
the lower frequencies radically. To
this end, experiment by varying
the high-pass filter within REVERB
COLOR’s positive control range.
REVERB COLOR is a static filter,
which means it generates a differ-
ent effect than that of REVERB
DAMPING, where the amount of
high-end damping is a factor of
time.
In the signal path. the filter is
located at the output of the pre-
delay. This means that the filter
also influences pre-delay feedback
(REVERB FEEDBACK, see below)
when you use this parameter.
01111111111111111112
1 REVERB
Color -10≤
61111111111111111154
REVERB PREDELAY
This parameter controls the pre-
delay time of the given room simu-
lation.
In a real room, sound travels quite
a distance and is reflected at least
once before it reaches your ear.
This means that a certain amount
of time elapses before you hear
the earliest reflections of the room
signal. The bigger the room, the
longer it takes for the reflected sig-
nal to reach your ear. This effect is
emulated in a room simulation be
means of a parameter called pre-
delay. Irrespective of the values set
for the other REVERB parameters,