Manual

6 HALL OF FAME 2 REVERB User Manual
4.4 E ect controls
Please note that the knob assignments on your TC Electronic pedal are the default
assignments. Using the TonePrint editor, you can rewire all knobs so they control
one or several parameters of your choice. For more information, see the TonePrint
editor manual.
(7) DECAY knob – Use this knob to adjust the length of the reverb. The
maximum length of reverb depends on the type that is currently selected.
(8) PRE-DELAY switch – Pre-delay is the time between the direct sound and
the reverb. Selecting a longer pre-delay can help maintain presence and
clarity when using heavy reverb.
(9) TONE knob – Use the Tone knob to adjust the brightness of the reverb from
“dark” to “crisp”.
(10) MASH LED - This will light up when the MASH function is engaged by
pressing down firmly on the footswitch. The LED gets brighter as the
footswitch receives more pressure, indicating a more intense triggering of
the parameter that is assigned to this function.
(11) LEVEL knob – This knob adjusts the volume level of the reverb. The direct,
unprocessed signal is always passed through at the original (unity) level. The
Level knob only controls how much reverb is mixed with the dry signal.
(12) Reverb type selector – Select the type of reverb or TonePrint with this
knob. The available types are described in the following section (4.5).
4.5 Reverb types
ROOM reverb
The Room reverb simulates a relatively small, well-furnished room. In such a
room, many re ections are absorbed by soft materials, and the sound is re ected
and sustained only by the walls (covered with wallpaper), windows and maybe
some furniture.
HALL reverb
The Hall reverb is a broad yet slightly di use reverb. It simulates a large
environment but adds a distinctive acoustic  avor to the source material. Great
discreet reverb for large epic sounds at longer decay settings but also perfect for
genuine ambient sounds at shorter decay settings.
SPRING reverb
The Spring reverb has been designed to reproduce the sound of the old spring
reverbs, such as the ones used in vintage guitar amps.
PLATE reverb
Prior to the digital era, reverb was created either using springs or large metallic
plates. A pl
ate reverb is recognized by its very di use and bright sound and is
excellent for guitar when you search for a signi cant guitar reverb.
CHURCH reverb
Church reverb is a highly di use, large reverb that is recognizable for its
emulation of the many hard surfaces of di erent shapes found in traditional
church rooms. If you are looking for a large reverb and think the Hall is too clean
and subtle, try Church.
SHIM (Shimmer) reverb
The Shimmer reverb pitch shifts the reverb up an octave through each feedback
loop, creating a haunting and other-worldly sound. This is a very unique e ect
that may open some interesting and experimental options, particularly when
paired with the MASH function.
MOD (Modulated) reverb
Early digital reverbs often sounded sterile and cold, so engineers used to add a
chorus to the reverb to get a “warmer” sound. The modulated reverb goes a step
further and allows you to have di erent modulation e ects on the reverb tail for
even more tonal options. This reverb is really noticeable and cuts through in live
situations.
LOFI (Low-Fidelity) reverb
Low-Fi reverb is a “down and dirty” reverb. Use Low-Fi and show your awareness
of aiming in the straight opposite direction of the “smooth”, discrete studio
reverb types. Make a statement!
TONEPRINT
Select one of the 3 TonePrint settings to access one of the default settings, or
create your own presets! See Chapter 3 for more details on creating and loading
TonePrints.