5
rEvErb InTrODuCTIOn
The TC Reverb Palette
Until 15-20 years ago, digital reverb was mostly used
as a generic effect applied to many sources of a mix.
Nowadays, where more aux send and returns are at
disposal, new approaches have emerged. Elements of the
mix are being treated individually, adding room character,
flavor and depth in more creative and complex ways.
At TC, we call this a Source based approach, and we have
put more than 30 man-years of development time into
design and refinement of Source based room simulation.
When Generic digital reverbs were invented, they stretched
the DSP power and memory bandwidth capabilities of their
time; and Source specific processing was completely out of
the question. Even though we may now consider Generic
types to be less than ideal, they still have applications for
which they may be chosen instead of their Source based
cousins.
The large reverb and room simulation palette of Reverb
6000 allows the user to choose whatever principle suits a
present need.
Below you will find a suggestion of when to use what.
Generic Reverb
Generic reverb is primarily a flattering sustain effect which
can be added to many sources of a mix, or a complete
stereo or multichannel stem. It adds little character but also
does no harm, because the effect is blurred or washed out.
If early reflections are offered, there are only few of them
and they play a rudimentary role. Therefore, a strong
localization is not imposed on the signal, which is what you
want when one reverb is used on many sources.
For a graphical artist, the equivalent tool to Generic reverb
would be a paint brush.
Generic Reverb Pros
• 1st choice for composite, mixed material and stems
• 1st choice when used with multichannel joystick on
console or DAW
• 1st choice for adding to classical main microphone pick-up
• Works well on moving sources
• Prettier than life
• Quick and easy to use
Generic Reverb Cons
• Blurring takes away character from individual sources
• Pitch modulation may be a problem with some material
• Mono compatibility often compromised to obtain extra
width
• Imaging inferior to Source based reverb
Source Reverb
When elements of a mix are picked up individually, a
chance exists to define exactly how each of them is to be
heard. There is no reason to apply one Generic reverb
to several single sources, unless they are supposed to
present an identical position to the final listener, or you
have run out of aux sends.
When it is desirable to distinguish between single elements
sharing more or less the same panning position, source
based reverb should be a first choice. Subtle discrimination
between reflection patterns of individual sources can make
all the difference in the world when it comes to obtaining
depth, expression and natural imaging.
Source Reverbs are able to generate multiple, complex
early reflection patterns. For best results, if some
reflections are already picked up by a microphone, they
should be excluded from the simulated pattern by using the
appropriate reflection decrease control.
Instruments or sources can alternatively share the same
reverb input in groups, e.g. stage left, center and right,
for a more complex and desirable result than a Generic,
one-send reverb approach.
For a graphical artist, the equivalent tool to Source reverb
would be a 3D rendering system or Virtual Studio.
Source Reverb Pros
• 1st choice when input sources can be separated
• 1st choice with spot microphones
• More depth and distinction obtainable in a mix
• Adds character and definition to a source
• For any format, but especially 5.1 and 6.1, localization
and the size of the listening area may be improved
compared to Generic Reverb types
Source Reverb Cons
• Require more sends or direct feeds than Generic Reverb
types
• No advantage on composite signals
• Not ideal for moving sources
Sampling Reverb
Sampling reverbs present a variation of the Source theme:
An impulse response is taken from an actual room based
on a specific source and pick-up position. This “canned
room” with frozen source, pick-up and speaker positioning,
can later be applied to any signal.
From experiments we have found it difficult to translate a
room feeling to speakers, due to compromises by nature
built into the emission and pick-up process when capturing
a room response. This is especially true with multichannel
formats such as 5.1 and 6.1, where DSP in simulators can
be used to optimize a virtual room for a specific speaker
configuration.
Currently, no sampling reverbs are available on Reverb
6000.
Sampling Reverb Pros
• “Organic” or natural feeling
• Some properties of a natural room may be captured
• Different flavor to simulations
Sampling Reverb Cons
• Little editing possible. Editing often doesn’t sound right
• Difficult to capture sense of space as well as it may be
simulated
• Only one fixed source position per Engine
• Long recall times
• Lower dynamic range and bandwidth than VSS
algorithms
