Access Virus Rack User Manual page 130

128 CHAPTER 16
The Parameters
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1 REVERB
Type
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[XP] REVERB COLOR [XP] This parame-
ters influences the room's static fre-
quency response.
Natural reverb will always have some
high-frequency attenuation since the
sound bounces off at least one wall.
REVERB COLOR is identical to DELAY
COLOR; here you're dealing with a vari-
able filter that can act as a low-pass filter
(negative control range) as well as a
high-pass filter (positive control range).
For a natural-sounding room simulation,
you should always set REVERB COLOR to
a slightly negative value to dampen the
higher frequencies of the room signal.
This will make the effect sound more
authentic and the room sound warmer.
You can, however, opt to create interest-
ing artificial-sounding effects by cutting
the lower frequencies radically. To this
end, experiment by varying the high-
pass filter within REVERB COLOR's posi-
tive control range.
REVERB COLOR is a static filter, which
means it generates a different effect
than that of REVERB DAMPING, where
the amount of high-end damping is a
factor of time.
Ambience≤
In the signal path. the filter is located at
the output of the pre-delay. This means
that the filter also influences pre-delay
feedback (REVERB FEEDBACK, see
below) when you use this parameter.
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1 REVERB
Color
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REVERB CLOCK When you set it to OFF,
the absolute predelay time is deter-
mined in milliseconds. If you select a
note value, then the predelay time is set
to the value of this note. The absolute
length of this note value depends on the
value entered to CLOCK TEMPO in the
global clock generator (refer to this sec-
tion). In this case, the absolute predelay
time in milliseconds is ignored.
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1 REVERB
Clock
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REVERB OUTPUT SELECT Here you can
select the external or internal output for
the REVERB section.
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1 REVERB
OutSel Out1+2≤
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-10≤
Off≤