Reverb-2; Reverb-3 - Art SGX-NightBass User Manual

:HFDAMP = [14%] 0 to 50 percent in % increments
:POSITN= [83%] FRONT to REAR in % increments
:LEVEL = [100%] 0 to 100 percent in % increments

REVERB-2

[REVERB-2], [REV]
Parameters:
:TYPE= [HALL-2] HALL-2, ROOM-2, PLATE-2, VOCAL-2, OFF (REVERB-1 TYPEs are also
available)
:IN = [PRE DDL] PRE DDL, POST DDL
:DECAY = [2.4s] 0 to 25 seconds in varying increments
:HFDAMP= [14%] 0 to 50 percent in % increments
:POSITN= [83%] FRONT to REAR in % increments
:LEVEL = [100%] 0 to 100 percent in % increments

REVERB-3

[REVERB-3], [REV]
Parameters:
:TYPE= [HALL-3] HALL-3, ROOM-3, PLATE-3, VOCAL-3, OFF
(REVERB-1 and REVERB-2 TYPEs are also available)
:IN = [PRE DDL] PRE DDL, POST DDL
:DECAY = [2.4s] 0 to 25 seconds in varying increments
:HFDAMP= [14%] 0 to 50 percent in % increments
:POSITN= [67%] FRONT to REAR in % increments
:DIFFUS= [100%] 40 to 100 percent in four % increments
:LEVEL = [100%] 0 to 100 percent in % increments
REVERB-1 algorithms are best used when you are using multiple effects. They have
less density and are more suited to effects where the reverb is not the main
effect but is used for presence. REVERB-2 algorithms use more delay and have a
higher complexity than the REVERB- 1. REVERB-3 algorithms are the most complex
and dense. Always use REVERB-3 when building "reverb only" programs.
The TYPEs of reverb are what make up the reverberant space. The smallest space is
the Plate. Generally this reverberant sound is used for tight and harsh sounding
reverb. Room and Vocal types are the next size spaces. They tend to be a little
looser allowing the sound to "bounce" around more adding color to the sound. The
Hall types are the largest allowing you to fill in the spaces with reflections
and build up density.
A common practice with reverb is to use it with delay. The IN parameter allows
you to place the reverb in parallel (PRE) with the delay to fatten up the reverb
sound, or, after the delay (POST), allowing you to separate the initial sound
from the reverb for clarity.
Once you decide what type of space is required, the length of DECAY is selected.
Generally the size of the space is proportional to the time it takes the signal
to decay. The larger the space, the longer the decay. Don't stick to this rule!
Many quality sounds are made by bending the rules and allowing for creativity.
The High Frequency Damping (HFDAMP) parameter allows you to damp out frequencies
as natural damping would in a reverberant space. Putting up baffles, carpeting,
drapes or wood in the space is simulated. The higher the value, the more damping.
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