Reverb And Delay Algorithms - Behringer Virtualizer Pro DSP1024P User Manual

VIRTUALIZER PRO DSP1024P

1.4.1 Reverb and delay algorithms

Cathedral: Reverb program that generates long and dense reverberation, much like the natural reverb
ambience found in churches or cathedrals. Particularly suitable for solo instruments and voices.
VARIATION modifies the decay time, EDIT A adjusts the differences between tiled and angular walls
(diffusion), while EDIT B – ENGINE L governs the early reflections and EDIT B – ENGINE R the
brilliance of the reverb signal.
Plate: The sound of early reverb plates. The decay time can be set from 0-9 s using VARIATION.
EDIT A determines the pre-delay by changing the perceived size of the room, EDIT B uses ENGINE L
to enhance the stereo image and ENGINE R to modify the room brilliance. A classic reverb program for
drums and solo voices.
Small Hall: Simulation of a small, highly reverberating hall. Use short reverb times (VARIATION) to
process drum instruments or medium reverb times to enhance wind instruments. EDIT A controls
diffusion, EDIT B early reflections (ENG. L) and stereo width (ENG. R).
Room: You can clearly hear the walls of this room as they are reflecting the sound. Their characteristics
can be changed with EDIT B from reflective (tiles, marble) to absorbent (carpets, curtains). Use
VARIATION (reverb time / room size) to create any room type – from small store rooms to large living
rooms. EDIT A governs the pre-delay. A useful program for reverb that isn't directly noticable (rap,
hip hop vocals) or to make dry recordings of instruments sound natural again. Very all-round effect.
Studio: Middle to large rooms that can be modified in their wall characteristics (EDIT B – ENG. R),
early reflections (EDIT B – ENG. L), position of sound source (= pre-delay: EDIT A) and size
(VARIATION). Creates a natural and multipurpose sound.
Concert: Use VARIATION (reverb time) to create a small theater or large concert hall, determine the
distance to the stage (= predelay: EDIT A), the distance to neighboring walls (= early reflections:
EDIT B – ENG. L) and their structure (= diffusion: EDIT B – ENG. R).
Stage: Wonderful reverb, for example, to provide keyboard pads or acoustic guitars with width and
depth (EDIT B – ENG. R = stereo width), and to make them sound fresher (EDIT B – ENG. L =
brilliance). Additionally, you can set the reverb time with VARIATION and the diffusion with EDIT A.
Designed for live applications and mixdown.
Vocal: Rich and dense reverb with middle reverb times (VARIATION) giving solo voices their finishing
touch. EDIT A controls pre-delay, EDIT B – ENG. L early reflections and EDIT B – ENG. R brilliance.
Percussion: This dense reverb is characterized by pronounced early reflections which make it very
suitable for dynamic signals (drums, percussion, slap bass, etc.). Apart from diffusion (EDIT A) and
reverb time (VARIATION) you can create interesting effects using the separately adjustable decay time
of high-frequency portions (EDIT B), which make the reverb more, or less audible.
Stereo Delay: Here, the input signal is delayed by as much as 5.1 s. Use VARIATION for a rough
setting from 0 ms to 5.1 s. Use EDIT A to adjust the delay time in milliseconds (in steps of 5 ms up to
VARIATION 6, then 10 ms). EDIT B determines the amount of effect signal that is fed back to the effect
(input signal is repeated several times with decaying intensity). The maximum feedback is limited to
avoid feedback loops. Please take a look at table 6.2 for further details.
Stereo Ping-Pong Echo: Much like the delay effect, echo repeats the input signal with decaying
intensity. However, here the echoes lose brilliance with each repetition, which simulates the trendy
"vintage" effect produced by tape echo units that were widely used in the pre-digital era. Additionally, the
"reflections" are alternatingly routed to the left and right channels so as to produce a kind of stereo
effect. The delay times can be set similarly to effect #10 (see table 6.2 in the appendix).
Gated Reverb: Phil Collins' song "In the Air Tonight" made this effect famous: a reverb is cut off abruptly
after a certain time. VARIATION determines the cutoff time, EDIT A controls the reverb intensity and
EDIT B the threshold above which reverb comes in (a kind of noise-gate before the reverb signal input).
If used for rhythmical signals (snare) adjust the length so that the reverb is cut off just before
the next quarter note (e.g. bpm = 120, quarter note = 0.5 s, length less than 0.5 s).
1. INTRODUCTION 11