Reverb Plug-ins

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Here, you select an early reflections pattern. The early reflections pattern contains the most important delays that deliver the key information for the spatial impression of the room.

Sets the level balance between the early reflections and the reverb tail. At a setting of 50 %, early reflections and tail have the same volume. Settings below 50 % raise the early reflections and lower the tail, as a result the sound source moves towards the front of the room. Settings above 50 % raise the tail and lower the early reflections, as a result the sound source moves towards the back of the room.

Adjusts the length of the early reflections pattern. At a setting of 100 %, the pattern is applied with its original length and the room sounds the most natural. At settings below 100 %, the early reflections pattern is compressed and the room is perceived smaller.

Attenuates the low frequencies of the early reflections. The higher this value, the less low frequencies are present in the early reflections.

Attenuates the high frequencies of the early reflections. The lower this value, the less high frequencies the early reflections will have.

Delays the onset of the reverb tail.

Controls the dimensions of the simulated room. At a setting of 100 %, the dimensions correspond to a cathedral or a large concert hall. At a setting of 50 %, the dimensions correspond to a medium-sized room or studio. Settings below 50 % simulate the dimensions of small rooms or a booth.

Controls the overall reverb time of the tail. The higher this value, the longer the reverb tail will decay. At a setting of 100 %, the reverb time is infinitely long. The [Main Time] parameter also represents the mid band of the reverb tail.

Controls the reverb time for the high frequencies of the reverb tail. With positive values, the decay time of the high frequencies is longer. With negative values, it is shorter. Frequencies are affected depending on the [High Freq] parameter.

Controls the reverb time for the low frequencies of the reverb tail. For positive values, low frequencies decay longer and vice versa. Frequencies will be affected depending on the [Low Freq] parameter.

Sets the cross-over frequency between the mid and the high band of the reverb tail. You can offset the reverb time for frequencies above this value from the main reverb time with the [High Time] parameter.

Sets the cross-over frequency between the low and the mid band of the reverb tail. The reverb time for frequencies below this value can be offset from the main reverb time with the [Low Time] parameter.

Controls the attack of the reverb tail. At a setting of 0 %, the attack is more immediate, which is a good setting for drums. The higher this value, the less immediate the attack.

Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from walls cannot be heard. The lower this value, the more single reflections can be heard.

Attenuates the high frequencies of the reverb tail. The lower this value, the less high frequencies the reverb tail will have.

Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is mono, at 100 % it is stereo.

Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value, as you can control the dry/effect balance with the send level.

Activate this button (padlock symbol) next to the [Mix] parameter to lock the dry/wet balance while browsing through the available presets.

Specifies the frequency of the pitch modulation.

Sets the intensity of the pitch modulation.

Activates/Deactivates the chorusing effect.

In the upper left corner of the plug-in panel, either the name of the loaded impulse response file or the name of the program is shown. After loading an impulse response, its number of channels and the length in seconds are displayed for a few seconds.

This button opens a browser window showing the available programs. If you select a program in the browser, it is loaded into the active program slot. To filter the list of impulse responses by room type or the number of channels, for example, activate the [Filter] section (by clicking the [Set Up Window Layout] button at the top right of the browser window).

Click this button to load impulse response files from an external source. The files should have a maximum length of 10 seconds. Longer files are automatically cut.

Use these slots to load all the impulse responses that you want to work with in a session. The selected program slot is indicated by a white frame. Used slots are shown in blue. A red program slot indicates that the impulse response file is missing. Double-clicking an empty program slot opens a browser window, showing the available programs. Clicking a used program slot recalls the corresponding program and loads it into REVerence. If you move the mouse over a used slot, the corresponding program name is displayed below the active program name.

This button is located between the program slots and the [Store]/[Erase] buttons. If it is activated, a crossfade is performed when switching programs. Leave this button deactivated while looking for a suitable program or an appropriate setting for an impulse response. Once you have set up the program matrix to your liking, activate the button to avoid hearing artifacts when switching between programs.

Stores the active impulse response and its settings as a program.

Removes the selected program from the matrix.

All values shown in the top row apply to all speakers or to the front channels if you are working with surround tracks.

If you are working with surround tracks up to 5.1, you can use this row to set up an offset for the rear channels.

If this button is activated, the impulse response is automatically normalized.

Reverses the impulse response.

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Controls the reverb time.

Determines the size of the simulated room.

A level control for the impulse response. This governs the volume of the reverb.

Sets a split point between the early reflections and the tail, allowing you to determine where the reverb tail begins. A value of 60 means that the split point is set to 60 ms.

Allows you to set up the relation of early reflections and tail. Values above 50 attenuate the early reflections and values below 50 attenuate the tail.

This wheel lets you adjust the reverb time.

When clicking this button to apply the loaded impulse response, a short click is played. This provides a neutral test sound that makes it easier for you to know how different settings influence the reverb characteristics.

This display shows the waveform of the impulse response.

This display shows the analyzed spectrum of the impulse response. Time is displayed along the horizontal axis, frequency along the vertical axis, and volume is represented by the color.

This display shows additional information, such as the name of the program and the loaded impulse response, the number of channels, the length, and Broadcast Wave File information.

Use this button at the bottom right of the impulse display section to activate impulse trimming. The Trim slider is shown below the Impulse display.

This slider allows you to trim the start and end of the impulse response. Drag the front handle to trim the start of the impulse response, and the end handle to trim the reverb tail.
NOTE
The impulse response is cut without any fading.

Shows the EQ curve. You can use the EQ parameters below the display to change the EQ curve, or modify the curve manually by dragging the curve points.

This button to the right of the EQ parameters activates the EQ for the effect plug-in.

Activates the low shelf filter that boosts or attenuates frequencies below the cutoff frequency by the specified amount.

Sets the frequency of the low band.

Sets the amount of attenuation/boost for the low band.

Activates the mid peak filter that creates a peak or notch in the frequency response.

Sets the center frequency of the mid band.

Sets the amount of attenuation/boost for the mid band.

Activates the high shelf filter that boosts or attenuates frequencies above the cutoff frequency by the specified amount.

Sets the frequency of the high band.

Sets the amount of attenuation/boost for the high band.

Opens a file dialog where you can navigate to the graphics file that you want to import. JPG, GIF, and PNG file formats are supported.

If several pictures are loaded, you can click this button to display the next image.

Deletes the active picture.
NOTE
This does not remove the graphics file from the reference source.

Indicates the overall level of the impulse response and its settings.

Adjusts the overall output level.

Sets the level balance between the dry and the wet signal.

Activate this button (padlock symbol) next to the [Mix] parameter to lock the dry/wet balance while browsing through the available presets and programs.

The program slot turns blue, indicating that a program is loaded.
NOTE
When saving a program, the impulse response file itself is only referenced. It still resides in the same location as before and is not modified in any way.

Repeat these steps for any impulse response files that you want to work with.

Determines the frequency at which the low-shelving filter takes effect. Both the high and low settings filter the input signal prior to reverb processing.

Determines the frequency at which the high-shelving filter takes effect. Both the high and low settings filter the input signal prior to reverb processing.

Sets the amount of boost or attenuation for the low-shelving filter.

Sets the amount of boost or attenuation for the high-shelving filter.

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Alters the delay times of the early reflections to simulate larger or smaller spaces.

Allows you to set the reverb time in seconds.

Affects the character of the reverb tail. Higher values lead to more diffusion and a smoother sound, while lower values lead to a clearer sound.

Controls the width of the stereo image. At a setting of 0 %, the output of the reverb is mono, at 100 % it is stereo.

Clicking this button generates a new version of the same reverb program using altered reflection patterns. This is helpful if some sounds are causing odd ringing or undesirable results. Creating a new variation often solves these issues. There are 1000 possible variations.

Activating this button freezes the reverb buffer in an infinite loop. You can create some interesting pad sounds using this feature.

Determines the frequency below which low-frequency damping occurs.

Determines the frequency above which high-frequency damping occurs.

Affects the decay time of the low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes low frequencies to decay quicker. Values above 100 % cause low frequencies to decay more slowly than the mid-range frequencies.

Affects the decay time of the high frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes high frequencies to decay quicker. Values above 100 % cause high frequencies to decay more slowly than the mid-range frequencies.

Determines how much the envelope attack and release controls affect the reverb itself. Lower values have a more subtle effect while higher values lead to a more drastic sound.

The envelope settings in RoomWorks control how the reverb follows the dynamics of the input signal in a fashion similar to a noise gate or downward expander. Attack determines how long it takes for the reverb to reach full volume after a signal peak (in milliseconds). This is similar to a pre-delay, but the reverb is ramping up instead of starting all at once.

Determines how long after a signal peak the reverb can be heard before being cut off, similar to a release time of a gate.

Sets the level balance between the dry signal and the wet signal. If RoomWorks is used as an insert effect for an FX channel, you most likely want to set this to 100% or use the [Wet only] button.

This button deactivates the [Mix] parameter, setting the effect to 100% wet or affected signal.

Determines how much processing power is used for RoomWorks. The lower the value, the more CPU resources are used, and the higher the quality of the reverb. Impressive effects can be created with very high [Efficiency] settings (above 90 %).

Determines if during audio export RoomWorks uses the maximum CPU power for the highest quality reverb. During export, you may want to keep a higher efficiency setting to achieve a specific effect. If you want the highest quality reverb during export, make sure this button is activated.

Shows the level of the output signal.

Determines how much time passes before the reverb is applied. This allows you to simulate larger rooms by increasing the time it takes for the first reflections to reach the listener.

Allows you to set the reverb time in seconds.

Affects the character of the reverb tail. Higher values lead to more diffusion and a smoother sound, while lower values lead to a clearer sound.

Affects the decay time of the low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes low frequencies to decay quicker. Values above 100 % cause low frequencies to decay more slowly than the mid-range frequencies.

Affects the decay time of the high frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes high frequencies to decay quicker. Values above 100 % cause high frequencies to decay more slowly than the mid-range frequencies.

Sets the level balance between the dry signal and the wet signal.