Chapter 3 - Overview
Plate 2
A richer version of Plate 1 which uses more processing power for more density and a smoother decay.
Chamber 2
This is similar to Chamber 1, but uses more DSP for a thicker sound. The high end in particular has a glassy decay which sounds excellent on synthesizers and pianos, but try it on vocals, too. This will sound more realistic when using short decay times.
Large Plate
This algorithm uses the most processing available for a truly realistic reverb plate simulation. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound.
Large Room
This algorithm uses the most processing for the most realistic possible sound. It has a nice smooth decay for drums and a fat attack to warm up guitars and percussion. Try gating it for that classic British progressive rock drum sound.
Spring
Classic guitar amplifiers used a suspended spring with transducers at either end to simulate reverb. It produces a ringy, resonant sound, which can be good for vintage guitar applications. With this algorithm, you get the character of a spring without the ÒboingÓ.
Nonlinear
An effect pioneered in the early 1980Õs was gated reverb. Either a live room or a digital reverb was sent through a noise gate, which was then triggered by the input signal. This created a large reverberant space which would cut off suddenly. You can get this effect in any of the other reverb algorithms, but ÒNonlinearÓ simulates the sound of classic ÒgatedÓ digital reverb programs. It is generally used for drums and percussion.
Reverse
Another popular trick in the 80Õs was to record the reverb with the tape flipped over, so it would play backwards in the mix. It is a useful effect for drums and other percussive sounds ÐÑ it adds space without washing out the instrument.
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