User's Manual
Table Of Contents
- 1 Overview
- 1.1 Introduction
- 1.2 What is in the Box
- 1.3 What is in your MyPreSonus account
- 1.3.1 Step 1: Register Revelator
- 1.3.2 Step 2: Download and Install Universal Control
- 1.3.3 Step 3: Download and Install Studio One Artist (Optional)
- 1.3.4 Step 4: Download and Install Studio Magic (Optional)
- 2 Connections and Controls
- 2.1 Basic hookup
- 2.2 Standalone controls
- 2.2.1 Setting the Microphone Level
- 2.2.2 Setting Headphone level
- 2.2.3 Setting Monitor level
- 2.2.4 Selecting Presets
- 3 Universal Control
- 3.1 The Launch Window
- 3.1.1 Launch Window Menu Items
- 3.2 Using Your Revelator with Popular Applications
- 3.2.1 Using Revelator for System Audio
- 3.2.2 Using Revelator for Skype
- 3.2.3 Using Revelator for Zoom
- 3.2.4 Using Revelator for Google Meets
- 3.2.5 Using Revelator for OBS
- 3.2.6 Using Revelator on Chromebook
- 3.2.7 Using Revelator with Zoom on Chromebook
- 3.2.8 Using Revelator with Google Meet on Chromebook
- 3.2.9 Using Revelator with iOS/iPadOS devices
- 3.2.10 Using Revelator with Android devices
- 4 Presets, Fat Channel, and Voice Effects
- 4.1 Preset Management
- 4.1.1 Changing Preset Button Slots
- 4.1.2 Storing New Presets
- 4.2 Fat Channel and Voice FX
- 4.2.1 High Pass Filter (HPF)
- 4.2.2 Gate
- 4.2.3 Compressor (Comp)
- 4.2.4 Equalizer (EQ)
- 4.2.5 Limiter
- 4.2.6 Voice FX
- 4.3 Reverb
- 5 Mixing and Loopback Audio
- 5.1 What is Loopback Audio?
- 5.2 Mixer Controls
- 5.2.1 Microphone Channel Controls
- 5.2.2 Mixer Channel Controls
- 5.2.3 Main Output Controls and Mix Selection
- 5.3 Feedback Loops are Bad
- 6 Advanced Features and Customization Tools
- 6.1 Settings Menu
- 6.2 Advanced Fat Channel and Voice Effects Controls
- 6.2.1 High Pass Filter
- 6.2.2 Noise Gate
- 6.2.3 Compressor
- 6.2.4 Changing the Signal Chain
- 6.2.5 Equalizer
- 6.2.6 Limiter
- 6.2.7 Voice FX
- 7 Studio One Artist Quick Start Guide
- 7.1 Installation and Authorization
- 7.2 Setting Up Studio One
- 7.2.1 Configuring Audio Devices
- 7.2.2 Configuring MIDI Devices
- 7.3 Creating a New Song
- 7.3.1 Configuring Your I/O
- 7.3.2 Creating Audio and Instrument Tracks
- 7.3.3 Recording an Audio Track
- 7.3.4 Adding Virtual Instruments and Effects
- 8 Resources
- 8.1 Gain Staging 101: Begin at the Beginning
- 8.2 Microphone Tips and Tricks
- 8.2.1 Handling Noise
- 8.2.2 How Close is Too Close?
- 8.2.3 Problematic Pronunciation
- 8.2.4 Putting it All Together
- 8.2.5 Removing Revelator from its Base
- 8.3 Technical Specifications
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4 Presets, Fat Channel, and Voice Effects
4.3 Reverb
Revelator
Owner’s Manual
4.2.6 Voice FX
Need an effect for your Sci-Fi podcast? Want to add a little spookiness to your
Halloween stream? Voice FX are here to give you fun, fantastical effects for your
audio. Expect crazy echoes, distortions, warbles, robot voices, and more.
Don’t forget—just because they’re called Voice FX, doesn’t mean they can
only be used on voices... Experiment with different sound sources!
Like the rest of the Fat Channel, each Voice Effect has advanced
controls. See Section 6.2.7 to find out more.
4.3 Reverb
Reverberation—or reverb, as it is more commonly known—is perhaps the
most widely-used effect in recording. Natural reverb is created by sound
waves reflecting off of a surface or many surfaces. For example, when you walk
across the wooden stage in a large hall, thousands of reflections are generated
almost instantaneously as the sound waves bounce off the floor, walls, and
ceilings. These are known as early reflections, and their pattern provides
psycho-acoustic indications as to the nature of the space that you are in, even
if you can’t see it. As each reflection is then reflected off of more surfaces,
the complexity of the sound increases, while the reverb slowly decays.
The reason for the widespread use of reverb in audio recording is fairly self-evident:
Human beings don’t live in a vacuum. Because our brains receive cues about the
nature of the space around us based partially on audio reflections, a sense of space
can make an audio recording sound more natural and, therefore, more pleasing.