Manual

The Reverb Preset Settings:
• Reverb level is important and it should be adjusted individually for each
installation. There is a ne balance between “hearing” the reverb and
making it “t” the venue and music genre.
• Engine 1 (E1) handles the side speakers, E2 handles the 2 rows of ceiling
speakers closest to the stage, and E3 handles the rear 2 rows (see the speaker
layout diagram on page 45).
• Using the Frame - E1-3 page, the Output Level parameter can be used for fast
adjustment of the audience speaker level. Use the Mute button to switch the
reverb o for comparison (it turns o the Wet signals only).
• The Frame - E1-3 page shows a fast overview of each engine. The parameters
shown here are chosen in each engine so you have fast access to the most
commonly used parameters in an acoustics controlling installation.
• Trim delays are adjusted for all speakers to compensate for the physical
distance from PA front to the 4 speaker rows.
• Predelay is not included in the factory presets, but may be added to include
the Haas eect, for example 20 ms. This could enhance the details coming
directly from the stage and give the ability to increase the overall reverb
level without muddying the sound image.
• Ceiling speakers are reduced by 4 dB to help prevent a “reverb raining eect.”
• Row 3 and 4 (including the side speakers) are adjusted for slightly shorter
Hi-frequency decay time and lower Hi-Cut, to create a slightly darker-
sounding rear venue.
• The overall reverb sound and coloring is carefully tuned in existing venue
installations where dierent decay time for classical music (typically 2.2s),
opera and piano (typically 1.8s), bigband and jazz (typically 1.2s), 0.8 and
2.7s are included. The sound of the venue itself, the microphones picking up
the sound over the stage, plus the speakers themselves, makes a dierence
to the combined sound of the system. Therefore, individual system and
reverb adjustments may be needed to make the reverb “t” the venue.
• In order to ensure maximum de-correlation of the audience speakers, use the
E1, E2, and E3 - REV pages and adjust the No of Channels and Assignment
parameters so they are set dierently in all 3 engines.
• Note: the E1, E2, and E3 engines have “Bottom,” “Mid,” and “Top” settings
respectively, in order to have the de-correlation set to “max”. This may not
fully reect the physical setup, as this will vary between venues, and so
other settings for the "No of Channels" may be better in some cases.
• This means that the reverb eld at the audience seats is extremely even
and it’s dicult to point out the individual speakers. As mentioned before,
the lack of any comb ltering and phasing issues between the reverbing
speakers also results in maximum headroom before acoustical feedback
to the stage microphones, which also gives the ability to use less directive
microphones over the stage.
• The stereo inputs are randomly but statically routed across the 24 reverb
channel inputs. This is done to ensure there is an even reverb eld, with very
little Left/Right-specic information at the audience seats. Dierent input
routing in the Reverb TwentyFour can also accommodate input formats such
as 5.1 and 7.1.
• A venue might not always be full at every show. Therefore it may be a good
idea to make more presets for a full venue, and a 2/3-full venue etc. The rear
speakers could be turned down or o with a 2/3-full venue, and the decay
time could also be set shorter, and the coloring set a bit darker in this case.
General Notes About Changing Acoustics
• As a rule of thumb, you may be able to extend/prolong the decay time of a
venue by a factor of 2 from its original time using the Reverb TwentyFour.
• An A-B microphone setup using wide cardioid microphones like the DPA
4015 is a good solution for picking up stage sound.
• Often you may need to introduce a multiband compressor with soft settings
prior to the reverb channels, to catch fast transients from the stage that may
sound slightly articial by the time they reach the audience.
GPI Control
• The GPI input of the Reverb TwentyFour may be used to select the preset so
it does not take a highly-educated engineer to set up the suitable decay time
for a specic show. A custom made push-button GPI box may be made for
the specic installation to easily change the presets.
46 REVERB TWENTYFOUR Owner’s Manual