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EFFECTS EDIT
On the EB16, we have access to parameters that allow you to set up a wide range of reverb
effects from the imitative to the outrageous.
The first page you encounter in the reverb section is as follows:
Here, you can select from a range of reverb types that include large hall, small hall, large room,
small room, etc.. You may also select certain special reverb effects such as reverse and gated -
we will come to those a bit later. Assuming you select one of the 'natural' reverb effects, the
next page down is this:
These are probably the most important parameters you will want to edit. PREDELAY sets the
delay between the direct sound and the onset of the reverb and the DECAY time sets the
length of the reverb decay. Adjusting these will have a profound effect on the 'size' of the
reverb effect you are creating. Setting longer PREDELAY will give a greater sense of distance
as it effectively sets the nearest wall the sound will bounce off first. If this time is long, then we
perceive that the room is much larger. By setting long DECAY times we also increase the
effective size of the acoustic environment as larger acoustic environments cause the
reverberation to last longer.
NOTE: Normally, you would increase the length of the predelay as you increase the length of
the decay. It is uncommon to have a very long pre-delay and a very short reverb decay (but is
good as a special effect!). You may, however, set a long decay but have a short (or non
existent) predelay.
The next page down in the reverb section is this:
Here you may set the low frequency and high frequency damping characteristics of the sound.
As we saw in the delay section, as the sound echos so it normally gets progressively duller.
The same is true of reverb. As the sound is bouncing all over the place, each time it hits a
surface, that surface will absorb some high frequencies. If the room has a lot of furniture,
curtains, drapes, cushions, whatever, the high frequencies are absorbed even more rapidly
(which is why your living room doesn't have a pronounced reverberant quality). This has the
effect of the reverb decay getting duller in tone as it dies away. In some acoustic environments,
the low frequencies die away more quickly. It is very uncommon for a room to have absolutely
no damping factor and LFDAMP and HFDAMP allow you to re-create this phenomena.
If you are trying to simulate a heavily damped environment, set LFDAMP to 000Hz (i.e. bypass)
and lower the HFDAMP parameter. If you are trying to simulate a highly reflective environment,
raise the HFDAMP parameter. To really emphasise the high frequency content (i.e. to simulate
a tiled room), you may try raising the LFDAMP frequency.
Another quality of reverb is its diffusion - i.e. how well the reflections 'smudge' together.
Normally, the sound will bounce off the wall at exactly the angle it hits it. This normally gives rise
to a smooth reverb decay. Some environments that have many odd alcoves or corners and
other 'acoustic obstructions' (i.e. a gymnasium with bars on the walls), can cause the sound to
bounce off at random angles and this can impart an 'echoey' quality to the sound where you
S2000 Operator's Manual - Version 1.30
Page 189
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