Behringer Rev2496 - Manual (Page 14)

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V-VERB PRO REV2496
4. EFFECTS
All effect algorithms and their parameters are described in this
chapter. Depending on the effect, up to 30 parameters that affect
the sound in different ways can be adjusted.
The actual signal flow of all effect algorithms is in stereo.
However, for clarity’s sake, all illustrations of the routing diagrams
are drawn in mono. The only exception is the Tremolo effect,
whose signal flow is depicted in stereo.
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DRY (the signal level of the “dry” signal) can only be
adjusted if the mix mode in the setup menu is set to
INTERNAL (compare ch. 3.8.1). If the mix mode is set
to EXTERNAL, the DRY control in the display is not
visible.
4.1 V-Verb
V-Verb is the most complex space-simulation algorithm in your
V-VERB PRO. The generator for the early reflections (ER) is
particularly elaborate, and can model a large number of primary
reflections of various types of spaces. The reverb generator
(REV) lets you adjust the reverberation period in four separate
frequency ranges.
Fig. 4.1: V-Verb effect configuration
With ER WID (Early Reflections Stereo Width), you can adjust
the stereo width of early reflections. A value of 0% results in a
mono signal. A value of 100% results in a maximal stereo effect.
With ER DLY (Early Reflections Predelay), you can additionally
delay early reflections. We say additionally because this value is
already automatically calculated depending on the parameters
such as room type, size and microphone distance (see below).
Using ER DLY, this delay time can be increased, creating the
impression of a larger room.
The parameters REV WID (Reverb Stereo Width) and REV
DLY (Reverb Predelay) have the same function as ER WID and
ER DLY, but refer to the reverb generator. Depending on the
selected room size (SIZE), a delay time for the reverb tail is
automatically enacted here as well. Use REV DLY to adjust this
delay time if you want to boost the room impression.
Using ER/REV (Early Reflections/Reverb Mix), you can adjust
the mix ratio between early reflections and late decay . A value
of 0% results only in early reflections. A value of 100% results
only in late decay .
The parameters DRY and FX LVL (effect level) control the
effect mix ratio. DRY determines the signal level of the direct
signal, while FX LVL controls the effect volume. The DRY
parameter is only adjustable when the mix is set to INTERNAL in
the setup. This control is therefore not shown in EXTERNAL
mode.
Two filters are located ahead of the ER generator. LO CUT
(low cut filter) determines the frequency of a high pass filter,
while HI FREQ/HI GAIN (high frequency/high gain) adjust the
frequency and the level of a shelving filter, used for lowering the
highs.
With ER TYPE (early reflections type), you can decide what
type of space should be simulated. You can select between
AUDITO (auditorium), CATHED (cathedral), CONCER (concert
hall), HALLWY, HANGAR, CHAMBE (chamber), STADIU (stadium)
and STAGE.
ER SIZE (early reflections size) determines the space size,
while MIC DIS (microphone distance) determines the distance
between the recording microphone and signal source. Value 1
means minimum distance, while value 5 means maximum
distance.
The material of the wall surface can be selected using the
MATERI (wall material) parameter. You can select between TOTAL
(full reflexion), GLASS, FIBER (fiber glass), MARBLE, CONCRE
(concrete), GYPSUM, WOODEN (hardwood floor), PLYWOO,
COTTON, CARPET, VELOUR and ACOUST (acoustic).
With ER DIFF (early reflections diffusion), you can influence
the degree of diffusion of the early reflections. Value 1 makes
individual reflections clearly audible, and a value of 30 creates
the greatest density possible.
Two filters are located ahead of the reverb generator as well.
LO CUT (low cut filter) determines the frequency of a high pass
filter, and HI FREQ / HI GAIN (high frequency / high gain) adjust
the frequency and the lowering of a shelving filter that processes
the highs.
The parameter SIZE defines the size of the simulated space. It
also influences the maximum reverberation time that is adjustable
with DECAY.
The reverb generator’s reverb tail can be modulated in two
different ways using MTYPE (Modulation Type). LINEAR
produces a chorus-like modulation; RAND(OM) produces a
natural-sounding, less pronounced modulation. MDEPTH
(modulation depth) and MSPEED (modulation speed) are used to
adjust modulation depth and speed.
The decay time can be separately adjusted for four different
frequency ranges. The parameters LO X-O (low Xover
frequency), MID X-O (mid Xover frequency) and HI X-O (high
Xover frequency) determine the cut-off frequencies for individual
frequency ranges.
With LO DCY (low band decay), the decay time for the lowest
frequency range can be adjusted. The parameter value describes
a factor that refers to the global decay time adjusted using
DECAY. Similarly, both MID DCY (mid band decay) and HI DCY
(high band decay) parameters control the decay time for both of
the upper frequency ranges. This way, a frequency-dependent
decay time whose sound character remains intact, even when
decay times are changed, can be selected. Insider hint: editing
the parameters on this menu page is much more intuitive and
comfortable if you use the graphic editing mode.
The parameter DIFF (diffusion) determines the reflection density
of the reverb tail . Low values give you more transparency, and
higher values create a softer, more dense reverb tail .
4. EFFECTS