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Using The Reverb Program Lexicon, Inc.
Ambient Chamber
Ambient Chamber is a hybrid of the stereo Ambience
and Chamber algorithms. It applies front left, center,
and right signals to the ambience algorithm and front
LCR plus rear signals to the chamber algorithm. This
can be used to change the apparent microphone
distance of the front signals or to provide different
acoustics for the front and rear (e.g., a stage house in
front and a more reverberant auditorium behind it) that
join into one integrated reverberant field.
The advantage of Ambient Chamber over the Ambient
Surround is that there is more control over the late
reverberation, with the inclusion of the Shape, Spread,
and BassMult controls. However the early reflections
generated by Ambient Chamber are more limited.
There are no early reflection generators for signals
coming into the rear inputs of the Surround version of
this program, and the early reflections generated by the
ambience section of the program are directed only to
the front three loudspeakers. Later reverberation is
provided to all the loudspeakers, and all inputs will
generate appropriate late reverberation. Ambient
Chamber is particularly useful in two channel mode,
and whenever a surround program is being designed to
play back primarily in a two-channel matrix form.
Reverse & Surround Reverse
Reverse is a new algorithm that is somewhat different
from the effect other processors call "Inverse." Unlike
traditional Inverse, which is a gated reverb whose
reflection density increases until a cut-off time is
reached, Reverse’s reflection density decreases over
time, while its reflection level increases over time, as if
you had recorded a signal through a reverb device, then
played the recording backwards. This is the exact
reverse of normal reverberant behavior, exactly like the
time-honored effect of reversing a tape. The effect
begins with a quiet, dense reverb and gradually
becomes louder and thins out to reveal the original
signal.
It's important to remember that in Reverse all the
parameters work backwards. For example, if RtHicut
(see parameter listing below) is low, the reverb will
become brighter as it develops.
Reflections play an important part in this effect. They
should be adjusted so that they occur at or near the end
of the reverb. In other words, they play the role of the
original signal, so they come last.
For Reverse to work as designed, the Mix parameter
must be set 100% wet, both at the 960L and at the
mixer!
Inverse
The traditional inverse effect can also be achieved, if
desired, by using any of the Hall, Chamber, or Plate
effects and doing as follows:
• Select a very large room Size.
• Bring Midrt all the way down.
• Set the Contour parameter to
a high value (like 10).
• Control the overall shape and
density using Shape, Spread and Size.
Algorithms, Continued
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