E-Mu Classic keys, Operation Manual

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EFFECTS SECTION
37
Hall 3
Hall 3 is similar to “Hall 2”, but with
larger scale stadium-like acoustics. Hall 3
is warmer than Hall 2 (more high fre-
quency damping) and does not display the
obvious early reflections and slap echoes.
It also exhibits a distinct predelay of
approximately 100 milliseconds and a
pronounced late reflection buildup both
of which contribute to the impression of a
large space. Wet mix values of 10% to
50% are most appropriate, although a
setting of 100% produces an effective cave
simulation.
Chamber 1
A simulation of a bright, medium-sized
chamber reverb or recital hall with hard
walls. Early reflections are very promi-
nent, with high reflection density. Moder-
ately long decays are possible at the
maximum decay setting.
Chamber 2
Similar to “Chamber 1” but with a much
warmer sound. The wet mix adjustment
provides an effective control over the
apparent source location from close
(10%) to very distant (100%).
Plate 1
Simulates a plate reverb unit. Gives a
tight, bright, slightly metallic sound.
Reflection buildup is very rapid, with high
density. Early reflections are minimized.
Plate 2
An effect similar to Plate 1, but slightly
warmer with less density.
EARLY REFLECTION GROUP
Early Reflection 1
Early Reflection 2
Early Reflection 3
Early Reflection 4
All Early Reflection programs have a
single Ambience parameter which adds
diffusion to the individual reflections.
Lower ambience settings cause reflections
to become more discrete, simulating
harder reflecting surfaces. The early
reflection programs are simulations of
increasingly large acoustic spaces, from a
small studio (Early Refl 1) to a large room
like a sound stage (Early Refl 4). The wet
mix control acts effectively as source
distance control. In general, lower mix
amounts are more effective as the room
size increases.
Reverse Early Reflection
More of a special effect than an acoustic
simulation, Reverse ER contains a set of
exponentially increasing delay taps,
creating a kind of “zip” sound at low
Ambience settings. At maximum ambi-
ence and lower wet mix values, the sound
is more authentically acoustic, with a
long, delayed reflection “bloom”. The
effect is similar to a large but well
damped parking garage.