Download - Breverb Manual

5/23/2018 Breverb Manual

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Overloud BREVERB -User Manual US

reverberation plugin

All rights reserved Overloud is a trademark of Almateq srl All Specifications subect to change !ithout notice Made "n "tal# !!!$breverb$com


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Table of Contents

1. Introduction 3

2. Schematics 4

3. Behind the Curtain 5

4. BREVERB ra!hic Interface "

%$&$'he Sound (hain$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ )

%$*$'he +nob Section$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ,

%$$'he Advanced .ader /anel$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &0

%$%$'he (entral Menu and its (ommands$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &&

5. #arameters 15

1$&$Master$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &1

1$*$Master 23$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &4

1$$5ate$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &6

1$%$7all 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &)

1$1$8oom 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *0

1$4$/late 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *&

1$6$"nverse 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *

1$)$M"9" "mplementation$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *%


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1. Introduction

:82;28:< the ne!born in Overloud=s famil#< is one of the most complete high-end-studio-qualit#reverbs ever seen$ "t offers a suite of % high-qualit# reverb algorithms>

$all

Room

#lateIn%erse

All are specificall# designed to give the sound of an acclaimed high-qualit# outboard reverb unit$

:82;28: offers high-qualit# musical reverb processing !ith a fle?ibilit# previousl# available onl#in e?tremel# e?pensive hard!are reverbs$ :82;28: is also engineered to achieve the highestlevels of musicalit# helping #ou to place it perfectl# in an# mi?$

Unlike convolution reverbs @a reverb that reproduces the real impulse response of a real hall!hich recentl# have gained a lot of popularit#< :82;28: allo!s #ou to var# the nature ofreverberation through several parameters< giving #ou the fle?ibilit# and real-time feedback that hasal!a#s been a prerogative of the most famous studio digital reverbs$

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2. Schematics

'he scheme above depicts :82;28:Bs signal chain$

the "nput signal is split in t!o> the 9r# portion !hich is the "nput sound !ithout an# change!hatsoever< and the Cet portion !hich !ill carr# the "nput sound processed b# the 8everb module higher values mean a steeper curve$

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3. Behind the Curtain

:efore !e ump to the detailed description of the programs and parameters< let=s take a look at thephilosoph# la#ing behind :82;28:Bs reverberation algorithms$

:82;28: is the result of a great deal of research into acoustics and reverberation$ "t !ill producesound of t!o t#pes> ambience and effect sounds$

Ambience is the use of reverberation or reflected sound energ# to give recorded music a sense ofdepth equivalent to the one naturall# present !hen recording a performance in a real acousticlocation$ "deall#< ambience imparts !armth< spaciousness and depth to a performance !ithoutcolouring the direct sound at all$

8ecent research has sho!n that this phenomenon depends most criticall# on the shape of theinitial reverberation build-up and deca#$ Ambience is perceived and has a benefit !hile the musicis running< but once the reverberation has deca#ed about &1 d: from itBs start level it is no longeraudible in the presence of the direct sound$ So the time it takes for the sound to build-up anddeca# &1 d: determines the perceived reverb time< regardless of !hat the deca# time to -40 d:@commonl# referred to as 8'40< a !a# to measure reverb time of real and virtual acoustic spacesis$ Some ver# good halls for recording have a rather uneven initial build-up and deca# that gives amuch longer effective reverb time than their 8'40 reverb time might suggest$

"t has become common practice to use predela# in an attempt to emulate the sound of these halls :82;28:Bs :asic "nterface

Chen #ou open :82;28:Bs interface @after #ou successfull# authoriGed itI< #ou face the frontpanel !hich is made-up of several parts> each one of them has its o!n particular function$ At firstsight #ouBll see the "n and Out level !hich form the sound chain< a central menu !hich includeseveral fundamental commands and the solution !e adopted to select algorithms and presets< plusa series of knobs that can set the parameters being sho!n in the bo?es right above each of them$On the top left corner of the plugin #ou can click on the KL button to open the manual and clock onthe circular button to open the credit !indo!$

/lease note that #ou can set ever# parameterBs value in different !a#s>

clicking on the knob or on the relative displa# and dragging it so as to KoperateL the knobE

clicking on the displa# and t#ping the ne! value on #our ke#board @in order to set the

K-infinit#L value on the Jevel .ader #ou can t#pe a value that is lo!er than -&00 or else #oucan t#pe the string K-ooL !ith t!o KoL$

"n order to get a better control< #ou !ill see that click and dragging the mouse quicker !ill makeparametersB changes happen faster$

'he mouse sensitivit# to speed changes can be set in the /references /anel$

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4.1 The Sound Chain

Pict. 2> 'he sound chain

'he sound chain is composed of the "N and OU' faders and meters$

'he IN meter@located on the left of the plugin !indo! displa#s the input level for the left andright channels independentl#< !hile the IN faderlets #ou set that level$ At the end of the fader

there is a displa# sho!ing the numerical value @measured in d: of the input level chosen> therange span from -P to D&* d:$ 8ight under the meter< there is a value sho!ing the peak levelreached b# the input signal$ Chen #ou open up the plugin the value sho!n is the lo!estpossible< -,4d:< but as soon as an input is present< this value !ill change according to theinput$ "f #ou !ant #ou can reset the value b# clicking on it$

'he OUT ectionis a little more comple?> it is made up of a level meter @split into left and rightchannel vie!s< t!o faders< one controlling the 9r# Sound and the other the Cet Sound< andt!o split-horiGontal sliders that control the pan pot$ Jike the input section< under the faderthere are the displa#s sho!ing the numerical values of the dr# and !et levels> the range is thesame as for the "N fader$ 'he pan sliders are split into left @the upper slider and right @thelo!er one channels and can be operated !ith the mouse$ 8ight under the OU' meter there is

a peak indicator for the output levelE this value can be reset b# clicking on it$

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4.2 The &nob Section

Pict. !> 'he knob section

"n the lo!er section of the plugin #ouBll find si? knobs and si? Gones !ith labels and relative values associated to the knobunderneath$ .or a complete list of parameters grouped under algorithmBs t#pe see the Appendi?$ 'his section isorganiGed in pages in :82;28: and #ou can shift from a page to another !ith a click on its title tab$ 'he 23 and the5A'2 tabs also feature a s!itch activating or b#passing the !hole section$

EQ:the 23 section is a full# parametric t!o-band equaliGer thatlets #ou set< for ever# band< the 5ain @in d:< the .requenc#@in 7G and the 3 factor of the signals$Once #ouBve set it up< #ou can enable or disabled it even!hile #ouBre on the 5eneral page b# clicking on the led-square on the right of the 23 title tab$

G"TE> the 5A'2 section is a sophisticated s!itch that mutes the processed sound according tothe settings of its parameters$ QSee the Appendi? for a full descriptions of themR ust like theMaster 23< once itBs set up #ou can s!itch it on or off as #ou like !hile setting otherparameters$

9

Pict.#:23 enabled and 5atedisabled


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4.3 The 'd%anced (ader #anel

Pict. $> 'he advanced panel and the drag T drop assignation of parameters to the faders

On the upper right corner of the plugin< #ou can see three smallbuttons @see /ict$ 4a$ 'he# control the s!itch bet!een the :asicand the Advanced interface modes$ (licking on the topmost one beneath the algorithm selector< thereBs a bo? featuring the name of the loadedpreset< a tin# round button to the right of it and a list of foldersfor the presets$ '!o small arro!s in the left part of the bo?lets #ou to change the selected preset up and do!n in the listEthis is useful !hen #ou !ant to scan the sound of differentpresets$ 'he list can be scrolled up and do!n !ith the scrollbar or !ith the mouse-!heel and features folders named afterthe algorithms !hich hold the relative algorithmBs presets$ 'hefolders are marked b# a small triangle pointing to the right>clicking on it gives #ou access to the folderBs content< !hich!ill be sho!n right under its name$ (licking a second time onthe triangle @no! pointing do!n!ard makes the folder vie! collapse$ 9ouble-clicking a presetname or selecting it and hitting the KJoadL button !ill load it$ 'he small round button alongsidethe Kloaded presetL field is merel# and indicator advising #ou the the loaded presets !aschanged since it !as loaded thus requiring a save command if #ou !ish to have it updated in

the preset list$

11

Pict. 8:the modified- preset indicator


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+ommand b,tton> on the left of the preset menus #ou can see several buttons that refer to thepluginBs file and editing management>

-oad having selected a preset in the preset menu on its right< click on this button to loadthat preset$ 'he same action can be obtained !ith a double click on the preset name inthe preset menu$

Save after having t!eaked something on a preset< click this button to save the changes$"f #ou created a ne! preset starting from the default settings #ou get !hen opening theplugin< then clicking this button !ill trigger the same function as the KSave AsL button$

Save " if #ou !ant to save a modified preset !ith another name< then this button is for#ou$

e(ete as the name suggest< clicking this button has the effect of deleting the presetselected in the preset menu on its right @"M/O8'AN'I> not the loaded preset$

"B this is a dual state buttonE it can be used to store and manage t!o different settingsthat #ou ma# !ant to compare$ .or e?ample< after setting up the plugin in order toobtain a specific result< #ou might !ant to e?periment !ith a different setting !hilekeeping the one #ouBve ust been !orking on$ (licking on the KAL button !ill turn thebutton to sho! a K:L activating the relative settings$ Fou then t!eak the settings in orderto find the alternative result$ Once #ouBve done !ith the K:L settings< clicking on the K:Lbutton s!itches bet!een the KAL and K:L states and settings letting #ou quickl# comparethe t!o sounds$

" to B/B to " this is another dual-state button serving as a BhelperB for the A: one$(licking on it !hile in the KAL state of the plugin of the above mentioned button !ill cop#the KAL settings to K:L$ 'he opposite happens !hen K:L is active$ 'his is the solution if#ou need to slightl# t!eak an alread# rather-good preset and to make comparisons in#our mi? !ith the former settings$

Undoand Redo these t!o buttons control the undo-histor# letting #ou revert back orfor!ard to a previous plugin parameter change #ou might have made$

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Preference Pane(

Pict. 9: The Preferences Panel

(licking on the square button in the upper left corner of :82;28: as sho!n in /icture 4< !ill dimthe main displa# and sho! the /references /anel in its place$ JetBs its features>

Set mater contro( at *reet (oadin)> !hen unselected< loading a specific preset !ill nothave an effect on the current settings of the Master (ontrol section @9r#< Cet< pan< etc$$Chen selected< loading a preset !ill also load the said Master (ontrol section$ 'hispreference lets #ou operate :reverb/2 in t!o different !a#s> in the Bold-fashionedB !a#!here levels and panpots are al!a#s the same !hen s!itching preset and the BalternativeB!a# !hich lets #ou save and load presets !ith specific levels and panpots @"2$ a stereo inputreverb !ith a mono output panpotted all the !a# to the right$

S'o0 factor *reet> this preference controls !here the .actor# preset !ill be sho!n in thepreset menu$ Chen the KCith user presetsL checkbo? is selected< the .actor# presets !ill besho!n together !ith the User presets$ Chen the K"n a separate folderL checkbo? is selected @d: 9etermines the global input level of the pluginE its action is prior to the input levelmeter$

r -eve(> @d: 9etermines the level of the direct unprocessed soundE it is t#picall# set toP !hen the reverb is used on an au?iliar# bus$ Chen used in an insert< graduall# lo!eringthis parameter can give the idea of a more distant sound$

et -eve(> @d: 9etermines the amount of the reverberation in the output stage$

r - Pan> Sets the pan position of the left input channel fed into the final mi?$

r R Pan> Sets the pan position of the right input channel fed into the final mi?$ "n combination!ith the previous parameter< it can be used to control the stereo !idth of the dr# signal$ .ore?ample< the 9r# can be made mono b# setting both these t!o parameters to the midpositionE the stereo image can be inverted b# setting the 9r# J /an to right and the 9r# 8/an to left$

et - Pan> Sets the pan position of the left reverberated channel fed into the final mi?$

et R Pan> Sets the pan position of the right reverberated channel fed into the final mi?$ "ncombination !ith the previous parameter< it can be used to control the stereo !idth of thereverb$ .or e?ample< the Cet channel can be made mono b# setting both these t!oparameters to the mid position< or the reverb stereo image can be inverted b# setting theCet J /an to the far right and the Cet 8 /an to the far left$

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5.2 * )aster E,

'his section features a full# parametric t!o-band equaliGer$ "t lets #ou set the 5ain< .requenc# and3 factor of each band< letting #ou shape #our sound as #ou like$ (licking on the square-led locatedin the right corner of the title-tab s!itched the 23 on and offE this is an useful feature to comparethe effect !ith and !ithout the 23$

P1 Gain> @d: sets the 5ain for band &$

P1 3re4> @7G sets the center frequenc# for band &$

P1 Q> @H Normall#< it sets the !idth of the bell-shaped curve for band &< but at its e?treme

settings !ill turn it into something completel# different$ "n fact< setting this parameter to itsminimum value @((C !ill transform the 23 into a Second Order Jo! Shelf< !hile turningthe parameter to its ma?imum value @(C !ill transform the 23 into a 7igh-/ass .ilter !itha &*dboct slope @the /& 5ain parameter !ill not have an# effect in this case$

P2 Gain> @d: sets the 5ain for band *$

P2 3re4> @7G sets the center frequenc# for band *$

P2 Q> @H Normall#< it sets the !idth of the bell-shaped curve for band *< but at its e?tremesettings !ill turn it into something completel# different$ "n fact< setting this parameter to itsminimum value @((C !ill transform the 23 into a Second Order 7igh Shelf< !hile turning

the parameter to its ma?imum value @(C !ill transform the 23 into a Jo!-/ass .ilter !ith a&*dboct slope @the /& 5ain parameter !ill not have an# effect in this case$

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5.3 * ate

'he 5ate is a sophisticated s!itch that lets #ou mute the !et sound according to its parametersBsettings$ As all other d#namics-based effects it has a level-detection unit set to respond to the dr#input level$ ust like the Master 23 control< 'he 5ate can be s!itched on and off b# clicking on thelittle square led located in the upper right corner of its title tab>

T're'o(d> @d: 'he 'hreshold parameter allo!s #ou to set the level limit in d:> !hen the levelgoes under this threshold< the gate is activated$ An automatic Kre-openL threshold is alsofeaturedE :82;28: sets it automaticall# after an anal#sis of the incoming signal content$

"ttac5> @Sec 'he Attack parameter sets the time needed b# the gate to s!itch from closed@active to opened @not-active$

Re(eae> @Sec 'he 8elease parameter sets the time it takes for the 5ate to close completel#$

6o(d> @Sec 'he 7old parameter sets the amount of time the gate !ill remain opened @not-active regardless of the input level and the threshold setting$

S'a*e> @Jinear or Sigma 'he Shape parameter allo!s #ou to shape the attenuation curve> #oucan choose bet!een linear and sigma $

S(o*e> @H "f the Shape parameter is set to Sigma< the Slope parameter !ill control the e?actshape of the BSB> higher values mean a steeper curve$

Note> 8elease and 7old can be s#ncBed to the host :/M

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5.4 * $all Re%erb

Genera(

Time> @Sec '"M2 sets the duration of the reverberation tail$ "tBs also influenced b# the S"2parameter$

Si7e> sets the rate of build-up diffusion after the initial period< !hich is controlled b# the9"..US"ON parameter$ "t also acts as a master control for '"M2 and S/82A9$ 9espite itsname< the apparent siGe of the space created is actuall# a combination of the settings of theS"2< S7A/2 and S/82A9 controls$

iff,ion> controls the degree to !hich the initial echo densit# increases over time$

S'a*e> it !orks together !ith the S/82A9 parameter to control the overall ambience of thereverberation created b# :82;28:$ "t specificall# determines the contour of thereverberation envelope$ Cith S7A/2 all the !a# do!n< reverberation builds e?plosivel# anddeca#s ver# quickl#$ As S7A/2 value is raised< reverberation builds up more slo!l# andsustains for the time set b# S/82A9$

S*read> controls the duration of the initial contour of the reverberation envelope$ Jo! S/82A9setting result in a rapid onset of reverberation at the beginning of the envelope< !ith little orno sustain< !hile higher settings spread out both the build-up and sustain$

Pre

Prede(a> @Sec sets the amount of time elapsing bet!een the input signal and the onset ofreverberation$ "t can be used to create a sense of distance and volume !ithin an acousticspace$

Re)en -:@H controls the amount of left channel input signal !hich is recirculated into thepredela# dela# line$ 'his parameter can be used to obtain a longer reverberation time !ith amore echoing tone$

Re)en R> @H same as 8egen J but referred to the right channel$

8otion> sets the speed of modulation of the dela# lines$

e*t'> sets the amount of modulation of the dela# lines in the reverbE together !ith the Motionparameter< it can be used to make the reverb tail sound more d#namic< unpredictable< richand remove an# eventual resonance or metallic ringing$ Motion and 9epth should be usedcarefull# on solo instruments like pianos< !ood!inds or sa?ophones to avoid chorusingeffects$ 'he# can be used more !ith aggressive settings on percussive tones< guitars andmi?es$

Note> /redela# can be s#ncBed to the 7ost :/M$

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3re4,enc

'he parameters in this section control the colour of the reverberation tail and its duration fordifferent bands of frequencies$ "n particular< it is possible to set the reverberation time of the lo!and high frequencies as a multiplier of the master reverberation time$

-o0> Sets the reverberation time of the lo! frequencies relative to the master reverberationtime$ "t is e?pressed as a time multiplier$ .or e?ample< setting Jo! to &$)? means that thereverberation time of the lo! frequencies is &$) times longer than the master reverberationtime$

-o0 3re4> @7G "t is the crossover frequenc# !hich defines the lo! frequencies$

6i)'> Sets the reverberation time of the high frequencies relative to the master reverberationtime$ "t is e?pressed as a time multiplier$ .or e?ample< setting 7igh to 0$4? means that thereverberation time of the high frequencies is 0$4 times shorter than the master reverberationtime$

6i)' 3re4> @7G "t is the crossover frequenc# !hich defines the high frequencies$

am*in)> real environments tend to attenuate the high frequencies due to the damping factorsof the materials the !alls are made of or of the obects in the room !hich mostl# absorb highfrequencies$ 'he 9amping parameter controls the amount of this absorption and can beused to simulate different t#pes of hall padding$

-o0 +,t> @7G "t sets the cut-off frequenc# under !hich the tone is not reverberated$ "t can beused to avoid rumbling in the lo! frequencies depending on the source material$

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5.5 * Room Re%erb

Genera(


Si7e> sets the apparent siGe of the acoustic space being emulated b# the algorithm$ ;alues fromminimum to half !a# up are t#pical !hen simulating the ambience of a recording studio$


eca> balances bet!een the late reverberation and the earl# reflections$ Chen the 9eca# is at

minimum onl# the earl# reflections are presentE !hen increasing it the late reverberation isgraduall# added$

8od

Prede(a> @Sec sets the amount of time elapsing bet!een the input signal and the onset ofreverberation$ "t can be used to create a sense of distance and volume !ithin an acousticspace$


e*t'> sets the amount of modulation of the dela# lines in the reverbE together !ith the Motionparameter< it can be used for making a reverb sound more d#namic< rich and to remove an#eventual resonance or metallic ringing$ Motion and 9epth should be used carefull# on soloinstruments like pianos< !ood!inds or sa?ophones to avoid chorusing effects$ 'he# can beused more !ith aggressive settings on percussive tones< guitars and mi?es$


3re4,enc

-o0> @7G sets the frequenc# under !hich the reverberation is attenuated$

6i)'> @7G sets the frequenc# over !hich the reverberation is attenuated$ Jo! and 7ighparameters can be used to t!eak the frequenc# response of a room$

am*in)> real environments tend to attenuate the high frequencies due to the damping factorsof the materials the !alls are made of or of the obects in the room !hich mostl# absorb highfrequencies$ 'he 9amping parameter controls the amount of this absorption and can beused to simulate different t#pes of room padding$

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5.- * #late Re%erb

Genera(


Si7e> sets the apparent siGe of the plate emulated b# the algorithm$

iff,ion> it controls the degree to !hich the initial echo densit# increases over time$

S'a*e> it determines the contour of the reverberation envelope$ Cith S7A/2 all the !a# do!n sets the speed of modulation of the dela# lines$ "t can be used for for making a reverbsound more d#namic< rich and remove an# eventual resonance or metallic ringing$

Pre

Prede(a> @Sec sets the amount of time elapsing bet!een the input signal and the onset ofreverberation$ "t can be used to create a sense of distance and volume !ithin an acoustic

space$


Re)en:@H controls the amount of input signal !hich is recirculated into the predela# dela# line$'his parameter can be used to obtain a longer reverberation time !ith a more echoing tone$


3re4,enc

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-o0> Sets the reverberation time of the lo! frequencies relative to the master reverberationtime$ "t is e?pressed as a time multiplier$ .or e?ample< setting Jo! to &$)? means that thereverberation time of the lo! frequencies if &$) times longer than the master reverberation

time$

-o0 3re4> @7G sets the crossover frequenc# !hich defines the lo! frequencies$

6i)'> Sets the reverberation time of the high frequencies relative to the master reverberationtime$ "t is e?pressed as a time multiplier$ .or e?ample< setting 7igh to 0$4? means that thereverberation time of the high frequencies if 0$4 times shorter than the master reverberationtime$

6i)' 3re4> @7G sets the crossover frequenc# !hich defines the high frequencies$

am*in)> depending on the age and material of the plate in the reverb unit the tail !ill be

graduall# attenuated in the high frequencies$ 'he 9amping parameter controls the amountof this attenuation and can be used to simulate different kinds of plates$


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5." * In%erse Re%erb

Genera(

Time: @Sec sets the duration of the reverberation$ 'his time< added to the /redela# time< is thetime that elapses from the direct sound to the end of the reverberation process$


Prede(a> @Sec sets the amount of time elapsing bet!een the input signal and the onset ofreverberation$


e*t'> sets the amount of modulation of the dela# lines in the reverbE together !ith the Motionparameter< it can be used to make the reverb sound more d#namic< unpredicatable< rich andremove an# eventual resonance or metallic ringing$


3re4,enc

-o0> @7G sets the frequenc# under !hich the reverberation is attenuated$

6i)'> @7G sets the frequenc# over !hich the reverberation is attenuated$ Jo! and 7ighparameters can be used to t!eak the frequenc# response of the reverb$

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5. * )I/I Im!lementation

Some of the :82;28:Bs parameters can be controlled b# an e?ternal M"9" source$ .or e?ample

++ n,mber BREVERB *arameter

0 "n Jevel

& 9r# Jevel

* .irst Slider

Second Slider

% 'hird Slider

1 .ourth Slider

4 .ifth Slider

6 Si?th Slider

,& Cet Jevel

4

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