Different rooms produce different natural reverb sounds, depending on size and damping materials (such as people, furniture, curtains and floor mats). This makes it difficult to hear an effect processor's reverb in an objective way. For example, if the room's natural reverb is bright you may compensate by making an unneccessarily warm reverb effect, while if the room's natural reverb is very strong you may make the reverb effect too weak. If you use headphones you'll not hear any of the room's natúral reverb, and may therefore add too much reverb effect. When listening to records one sometimes wonder why the record producer chose such strange reverb or EQ settings, the answer is probably that the monitor speakers or the mixing room acoustics fooled him (or maybe you are listening to the recording on an unusual sound system).
In older software versions (at least up to 2.02) there are a few software bugs affecting the Reverb.
The manual suggests trying out the reverb with the reverb tail's Decay time set to a min value. This will sound very subtle, and is interesting for three-dimensional effects as well as for percussive sounds that would be drowned by longer reverb tails. Especially in the Advanced Reverb you can remove all reverb tail and instead use the Pre-delay parameter as a soft-sounding delay effect.
If long reverb tails obscure your playing but you still want a long tail, you can make a ducking reverb by linking a reverb Level or Mix parameter to the Envelope Detector or an ADSR.
A gated reverb can be created by linking an ADSR to the reverb Out level and setting the reverb tail's Decay time to a suitably long value.
The Reverb block includes several reverb filters, ranging from warm sounding to very crisp. You may also use the filters in the Filter block to create unusual reverb sounds. Especially the Formant filter can be used nicely (but watch out for internal overloads).
Copyright © 1999-2016 Christian Jacobsson.