Reverb types
Trinity Reverb English Manual Version 1.0 12
Reverb types
This section of the manual describes the reverb
types you can access using the Reverb type se-
lector.
RM – Room reverb
The Room algorithm simulates a relatively small,
well furnished room. In such a room, many re-
flections are absorbed by soft materials, and
the sound is reflected and sustained only by
the walls (covered with wallpaper), windows and
maybe some furniture.
HL – Hall reverb
The Hall Acoustic preset is a broad yet slightly
diffuse reverb. It simulates a large environment
but adds a distinctive acoustic flavor to the
source material. Great discreet reverb for large
epic sounds at longer decay settings but also
perfect for genuine ambient sounds at shorter
decay settings.
SG – Spring reverb
The Spring algorithm has been designed to re-
produce the sound of the old spring reverbs,
such as the ones used in vintage guitar amps.
PL – Plate reverb
Prior to the digital era, reverb was created ei-
ther using springs or large metallic plates. A
Plate reverb is recognized by its very diffuse and
bright sound and is excellent for guitar when you
search for a significant guitar reverb.
CH – Church reverb
A highly diffuse large reverb that is recognizable
for its emulation of the many hard surfaces of dif-
ferent shapes found in traditional church rooms.
If you are looking for a large reverb and think the
Hall is too clean and subtle – try Church.
MD – Modulated reverb
The MOD mode adds modulation to the reverb
only – not to the dry signal. This opts for a reverb
that is really noticeable and cuts through in live
situations.
LF – Lo-Fi reverb
Down and dirty reverb. Use LF and show your
awareness of aiming in the straight opposite di-
rection of a smooth discrete studio reverb type.
Make a statement.
TL – Tile reverb
If you want the “bathroom” effect, without ac-
tually sounding like you’re playing in your bath-
room. The Tiled Room reverb simulates the qual-
ities of a small to medium size tiled room with its
many reflections and at the same time it behaves
respectfully towards the original source material.
This is not a soft smooth reverb – this one cuts
through the mix.
E1 – Ethereal 1
Tweaked by ProGuitarShop
“This setting came about when we decided to
push the limits of the EQ settings of the reverbs
decay. By doing so, we were able to create a
distinct presence of upper harmonic overtones
swirling behind the reverb. These overtones
hang in the air above the signal like an Aurora
Borealis of harmonics, glimmering and shifting
about as you play. We did not use any sort of
synthesis or octave effects to attain this setting;
E1 is pure reverb interacting with itself, bounc-
ing around to create a perceived upper harmony.
Your guitar is suddenly transformed into a choir
of heavenly harmonies. “
Aaron Miller, Founder of PGS
E2 – Ethereal 2
Tweaked by ProGuitarShop
“The Ethereal 2 setting creates a pulsating he-
licopter effect. This effect provides a pulsing,
throbbing drone behind the note, generating an
eerie wall of sound. Like E1 this is also in the
background of the reverb but E2 is very dynamic
and responsive to pick attack and which strings
you’re playing. The low strings tend to have a low
end heavy throbbing that transitions to a bub-
bling brook type of effect when played lightly
while the high strings yield more of a swirling,
spinning aura behind the reverb effect.”
Aaron Miller, Founder of PGS
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