Section - 4 Editing Modules
Johnson Millennium
Gated Reverb
Gated reverb doesn't behave as naturally as the standard varieties of reverb. Originally, it was created by taking a long, dense reverb and chopping it short with a noise gate. This made for a burst of reverberation energy that could help thicken up a variety of sounds.
Digital signal processing techniques improved and soon allowed ways to create similar gated reverb sounds that were far more usable and flexible. Today's gated reverb doesn't get gated at all, it just sounds like it does. It is actually a large burst of delay taps that create the gated reverb sound. This allows you to chose the length of the effect along with different slope shapes.
When do I use Gated Reverb? Using a Gated Reverb in a multi effect guitar application is ideal for producing unusual special effects. Using the Gated reverb can produce a very rich and intense and ambience which can thicken up a guitar tone in many ways . This type of reverb is also ideal for producing an effect that is similar to backward masking.
Reverb Parameters:
Note: Not all of the parameters listed below are available in all Reverb modules.
FX: Lvl | Controls the signal input level fed to the Module. Ranges from Off to 100%. |
Dry: Lvl | Controls the level of the dry (uneffected) signal. Ranges from Off to 100%. |
Balance | Controls the left/right positioning of the dry signal in the stereo soundfield. Ranges from |
Type | Selects the reverb type. Each room type has a different decay range (just as real rooms do), so changing TYPE also |
| changes the decay time of the room. Types are: Studio Room, Wood Room, Vocal Plate, Concert Hall, Plate Reverb, |
| Chamber, Cathedral, Arena, Cement Shelter, and Infinite Spring (for Reverbs), and: Flat, Shelf, Decaying Linear, |
| Decaying Logarithmic, Decaying Exponential, Decaying Sine, Reverse Linear, Reverse Logarithmic, Reverse |
| Exponential, Reverse Sine, Peaking Linear, and Peaking Exponential (for Gated Reverbs). |
Density | Controls the number of discrete room wall reflections during the early portions of DECAY. Higher settings produce |
| more reflections while low settings yield fewer initial wall echoes. Use this control in conjunction with DISPERSION |
| to build or reduce the thickness of early reflection clusters heard near the beginning of the reverberation. Ranges |
| from 0% to 99%. |
Dispersion | Controls the distance (time) between the echoes set by DENSITY. If DENSITY is set low and DISPERSION is set high, |
| the initial room echoes. Dispersion can be heard as discrete echoes followed by smoother room reverberations. Set |
| DISPERSION low for a dense cluster of reflections during the early portions of DECAY. Ranges from 1 to 5. |
Diffusion | Simulates the presence of different room materials by controlling the smoothness of reverberations through the |
| course of DECAY. Low DIFFUSION settings are great for simulating hard, flat surfaces while higher DIFFUSION |
| settings can be used to simulate the presence of irregular surfaces in the room such as natural rock masonry or man- |
| made diffusers. Unlike flat surfaces, these materials reflect (diffuse) the sound in many directions because of the irreg- |
| ularity of the surfaces themselves. This builds smoothness over the reverb progression. Ranges from 0% to 99%. |
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User Guide
