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98 | TSAR-1 REVERB AND TSAR-1R REVERB
Anatomy of a Reverb
Every Reverb Designer has her own way of
implementing the user adjustable parameters,
but many parameters are the same in most reverb
designs and are today just as common in reverbs as
bass and treble are in a guitar amp.
Predelay
The Predelay sets the time between the dry signal
and the reverb tail. It is often used to achieve the
impression of a large room, by making the reverb
tail arrive later. A 34 ms predelay corresponds to
the time it takes for the sound to travel 10 m. In
modern music production, predelay is often used to
achieve rhythmic effects, often set at longer times.
An 8th notes slap back each in 120 bpm corre-
sponds to a 250 ms predelay.
Reverb Time/Decay Time
This is the time it takes for the volume of the reverb
tail to drop 60 dB. A real world analogy for the
reverb time could be how much the walls of a room
reflect the sound. A big room with much acoustic
treatment has shorter reverb time than a stone-wall
church of the same size.
Density/Size/Diffusion/Shape
These parameters are used to adjust the sound of
the reverb tail. A room with a large size often have
longer time between reflections than a small room,
and the sound of the reverb becomes less dense.
Low density reverbs are very handy if you need a
reverb with a long tail that doesn’t take up too much
energy in a mix. Diffusion alters the build-up of
the reverberation, and can have a dramatic effect on
percussive sounds.
Early Reflections
The early reflections are the very first echoes that
reach the listener and help the listener to decide the
size of the room.
Introduction
TSAR-1 STANDS FOR True Stereo Algorithmic Re-
verb Model 1, and that’s just what it is. But TSAR
is easier to remember than, well, what ever it stands
for...
True Stereo
Both the left and right channels contribute uniquely
to the left and right outputs, so the right channel
doesn’t only affect the right channel but also the left
side. Unlike many other reverbs, which might have
a two different engines for the left and right sides,
or just one engine with different outputs for the
left and right sides, a true stereo reverb needs four
unique engines to process the audio. This is true
stereo, and this is what the TSAR-1 engine does.
Algorithmic Reverb
Even if there are tons of convolution reverbs out
there, and anyone with a simple piece of software
can create their own set of impulses, there are noth-
ing that compares to a well designed algorithmic
reverb.
An impulse response is indeed a very good finger
print of a room’s acoustics, and does a good job in
mimicking a sampled space if you have a completely
dry recording. You’ll get all the echoes, tails and
coloration of that room. An algorithmic reverb is on
the other hand designed to add space or ambience
to a recording without coloring the dry signal and
without interfering with the already recorded ambi-
ence. The ability to tailor the reverb to co-exist with
the recorded ambience is one of the strengths of an
algorithmic reverb, and one very strong reason to
why you will always need well designed algorithmic
reverbs.