Effects Reference

116 Chapter 10 Reverb
Output Parameters
 Dry: Controls the amount of the original signal.
 Wet: Controls the amount of the effect signal.
Setting Predelay and Initial Delay
In practice, too short a Predelay tends to make it difficult to pinpoint the position of the
signal. It can also color the sound of the original signal. On the other hand, too long a
Predelay can be perceived as an unnatural echo. It can also divorce the original signal
from its early reflections, which leaves an audible gap.
The optimum Predelay setting depends on the type (or envelope) of signal. Percussive
signals generally require shorter predelays than signals where the attack fades in
gradually. A good practice is to use the longest Predelay possible before you start to
hear undesirable side effects, such as an audible echo.
If you’re going for a natural-sounding, harmonic reverb, the transition between the
early reflections and the reverb tail should be as smooth and seamless as possible. Set
the Initial Delay so that it is as long as possible, without a noticeable gap between the
early reflections and the reverb tail.
Setting Density and Diffusion
Ordinarily, you want the signal to be as dense as possible. However, use of a lower
Density value means the effect eats up less computing power. Beyond this, in rare
instances, a high Density value can color the sound, which you can fix by simply
reducing the Density knob value. Conversely, if you select a Density value that is too
low, the reverb tail will sound grainy.
High Diffusion values represent a regular density, with few alterations in level, times,
and panorama position. Low Diffusion values result in the reflection density becoming
irregular and grainy. The stereo spectrum changes, too.
Setting the Reverb Time
Reverb Time is commonly considered as the amount of time it takes for the level of a
reverb signal to drop by 60 dB. This is why the reverb time is often indicated as RT60.
Most natural rooms have a reverb time somewhere in the range of one to three seconds,
a value that absorbent surfaces and furniture reduces. Large empty halls or churches
have reverb times of up to eight seconds, and some cavernous or cathedral-like venues
even beyond that.
Setting the High Cut
Uneven or absorbent surfaces (wallpaper, wood paneling, carpets, and so on) tend to
reflect lower frequencies better than higher frequencies. The High Cut filter replicates
this effect. If you set the High Cut filter so that it is wide open, the reverb will sound as
if it is reflecting off stone or glass.