Manual

4. Overview
Thank you for choosing a Reverb TwentyFour. This remarkable device has the
following features:
• Pristine high-denition multichannel reverb in 19” rack format, that lets you
create and manipulate reverb for up to 24 channels simultanously, so you
can deliver powerful content for even the most extreme surround formats.
• Process any mono or higher signal source to create content with
as many output channels as you want.
• Flexible and seamless audio routing with 64 MADI channels of input
and output on-board.
• Manipulate spaciousness for countless channels faster, better and over a
wider range than ever before, letting you convey space more credibly
than is possible with a microphone array in a real room.
• Fully downmix-compatible to let you render down from high channel
formats gracefully, without introducing phasing artifacts or
altering mix balance.
• Compatible with modern high-channel-count workows, such as NHK
Super Hi-vision, Dolby Atmos, Barco Auro and of custom installations where
multichannel, high-performance audio is a key element.
• Power Correction maintains your direct-sound-to-reverb ratio while you do
mix changes and experiment with decay time settings, saving signicant
re-trimming work.
• Truly make the most of extra discrete channels with reverb color to help you
convey spaces imaginatively in multichannel format.
• New envelopment technique overthrows convention so that input signals
already containing spatial information can be regarded as a perfect input
source, enabling you to add signicant reverb to them.
• Grid page provides quick and easy access to make and adjust spaces for
many channels simultaneously.
• Main setup options let you manipulate channel groups to quickly
oset balances and timing.
• As well as creating more credible envelopment from many loudspeaker
channels than is achievable using a microphone array in a real room, the
Reverb TwentyFour mixes-down perfectly and predictably, like other
decorrelated signals.
• An important development goal of the Reverb TwentyFour has been not to
waste loudspeakers – the more discrete channels there are, the better the
envelopment will be.
• The inputs and outputs of the Reverb TwentyFour can be distributed
quite exibly.
Solid foundations
TC’s involvement with high quality digital audio dates back to the mid-eighties.
Our commitment to digital excellence has continued over the years with
equipment for the music, lm and mastering industries.
Many years of experience with analog and digital audio production and the
know-how of skilled engineers: this is the foundation on which this product was
built. From the purist and quality-conscious hardware engineers to the software
writers, some of whom were involved with designing the MPEG codecs: The team
who have worked on the Reverb TwentyFour forms a competent, non-dogmatic
design group ready to take lm audio production to the next level.
We are condent you will value the result of their hard work.
Basic concepts and operation
The Reverb TwentyFour is equipped with three so- called engines E1, E2, and E3,
running the reverb algorithms.
As you can easily see, Reverb TwentyFour is a “headless system” – it has no front
panel controls (with the exception of the Reset button).
Reverb TwentyFour is operated using the TC Icon software, which you can
download from the TC Electronic website as described previously.
You can use the same version of the TC Icon software to operate our other
products in lm, audio and production, such as the System 6000.
Accordingly, a signicant part of this manual covers operating
Reverb TwentyFour using TC Icon software running on a standard computer,
and the screen shots you will see are taken from the OS X or
Windows versions of this software.
Reverb TwentyFour oers a variety of ways to engage or disengage audio
processing. Processing may be invoked automatically, depending on format,
level, physical inputs etc., while remote control can be achieved via Ethernet,
and GPIO. When setting up the device, make sure to only engage the methods
you wish to use. For example, if the GPI inputs are not used, make sure to
disable the respective input.
Please invest some time in learning TC Icon’s basic concepts – you will
benet from it when you are operating systems that may include many
networked TC signal processors.
Reverb TwentyFour and MADI
Reverb TwentyFour is available in just one hardware version:
with MADI input and output.
There are up to 64 MADI inputs and outputs, and a maximum of 24 channels
can be processed by the Reverb TwentyFour at any given time. The remaining
channels of MADI input will pass right through.
We assume that you have a good working knowledge of MADI, including
external audio equipment that outputs MADI into the Reverb TwentyFour, and
equipment that inputs MADI from the Reverb TwentyFour. The MADI standard is
not discussed in this manual, although the specication table on page 47 shows
MADI technical details.
Reverb TwentyFour presets
Reverb TwentyFour comes with ready-to-use presets based on international
standards. More presets will be made available as part of software updates from
the TC website. These presets are based on information from engineers around
the world.
A good look at the available factory presets will help you see the exibility
oered by the Reverb TwentyFour, and what can be achieved. Please see section
16 on page 37 for more details of the factory presets. You can use the factory
presets as a basis for creating your own user presets.
If you feel that an important preset is missing or that a given preset does not
work as it should, please get in touch with TC Electronic technical support:
tcelectronic.com/support/
11 REVERB TWENTYFOUR Owner’s Manual