M2000 D.c. Algorithms - TC Electronic UNIT•Y Manual

M2000 D.C. REVERB
Several different algorithms from TC's catalog of reverbs are available in the ROM presets.
All the algorithms are controlled from slightly different screens covered on this page and the
next. Reverbs are found in preset area 1-49 and 100-199. As explained in the preset titles,
some of them are created for discrete 5.1 surround sound applications.
Basic Room Design
In natural reverberation, the initial reflections happens within the first second of the
response. This is where the sound is very clearly reflected by the walls and floors, and you
can 'feel' which type of room you are in. Later in the reverb process, the original sound is
nearly drowned in a soup of millions of chaotic chain reflections and two very different
rooms often sound much alike at this stage. The initial reflection is, therefore, the part of
the reverb that really defines the room characteristics.
Most TC Reverbs are composed of an Initial reflection part (=I) and a dense Reverb part
(=R). To create a perfect illusion of a real room, both parts needs to have the
characteristics of the room you want to create, and the I/R balance must be right. To
achieve a more artificial reverb effect, you may want to play down the role of the Initial
reflections. To create a wet mix without too much reverb density, the I/R balance should
favor the Initial reflections.
Remember to adjust the Pre Delay according to the basic shape you have chosen. Small
rooms with a long predelay, for example, yield a very unusual listening experience.
The Shapes of the Initial reflections refer to this scheme:
Hall, Simulates the early reflection measured in the Boston Symphony Hall.
Horseshoe, Borrows some acoustics from the Musikvereinssaal in Austria.
Prism, Has a pattern based on the conceptual 'golden ratio' shoe box hall.
Fan, Is based on the basic structure of the La Scala Concert Hall.
Club, Is based on a regular small club room.
Small, Simulates a small domestic room.
When designing your reverb, keep in mind that room acoustics lose their high frequency
energy more easily over time. Setting the High Decay to a large amount of time will usually
make the room sound too artificial.
No matter how you build your room illusion, you will discover an important characteristic of
these famed reverbs: The true non-coherent outputs, which require a lot of extra
processing power, but also make them true mono summing at +3dB, equally suitable for
work in Mono, Stereo, Dolby 4:2:4 and 5.1 surround formats.
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NITIAL REFLECTIONS
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OOM HAPES
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