Algorithm Manual Revision 4

TC reverb algorithms: an introduction
10 System 6000 MKII Algorithms – Firmware version 6.5.0
Source Reverb
When elements of a mix are picked up individu-
ally, a chance exists to define exactly how each
of them is to be heard. There is no reason to ap-
ply one generic reverb to several single sources
(unless they are supposed to present an identi-
cal position to the final listener, or when you have
run out of Aux sends).
When it is desirable to distinguish between
single elements sharing more or less the same
panning position, source-based reverb should
be your first choice. Subtle discrimination be-
tween reflection patterns of individual sources
can make all the difference in the world when it
comes to obtaining depth, expression and natu-
ral imaging.
Source Reverbs are able to generate multiple,
complex early reflection patterns. For best re-
sults, if some reflections are already picked up
by a microphone, they should be excluded from
the simulated pattern by using the appropriate
reflection decrease control.
Instruments or sources can alternatively share
the same reverb input in groups, e.g. stage left,
center and right, for a more complex and desir-
able result than a Generic, one-send reverb ap-
proach.
For a graphical artist, the equivalent tool to
Source reverb would be a 3D rendering system
or Virtual Studio.
Source Reverb Pros
►
First choice when input sources can be sepa-
rated
►
First choice with spot microphones
►
More depth and distinction obtainable in a mix
►
Adds character and definition to a source
►
For any format, but especially 5.1 and 6.1, lo-
calization and the size of the listening area
may be improved compared to Generic Re-
verb types.
Source Reverb Cons
►
Require more sends or direct feeds than Ge-
neric Reverb types
►
No advantage on composite signals
►
Not ideal for moving sources.
Sampling Reverb
Sampling reverbs present a variation of the
Source theme: An impulse response is taken
from an actual room based on a specific source
and pick-up position. This “canned room” with
frozen source, pick-up and speaker positioning,
can later be applied to any signal.
From experiments we have found it difficult to
translate a room feeling to speakers, due to
compromises by nature built into the emission
and pick-up process when capturing a room re-
sponse. This is especially true with multichannel
formats such as 5.1 and 6.1, where DSP in simu-
lators can be used to optimize a virtual room for
a specific speaker configuration.
Currently, no sampling reverbs are available on
Reverb 6000.
Sampling Reverb Pros
►
“Organic” or natural feeling
►
Some properties of a natural room may be
captured
►
Different flavor to simulations.
Sampling Reverb Cons
►
Little editing possible. Editing often doesn’t
sound right
►
Difficult to capture sense of space as well as
it may be simulated
►
Only one fixed source position per Engine
►
Long recall times
►
Lower dynamic range and bandwidth than
VSS™ algorithms.