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sound’s loss of energy is controlled via DECAY TIME. When you dial in the minimum value, the
decay time is extremely short so you’ll hear just the early reflections. At the peak value, no energy is
lost so the decay time is infinite, which is of course physically impossible in the real world.
REVERB DAMPING
This parameter controls high-frequency attenuation of the room’s fading reflections. In a real room,
walls don’t reflect high frequencies as well as they do lower frequencies, an effect that can be lik-
ened to natural low-pass filtering of the sound. The longer the sound travels, the more often it
bounces off walls and the more intense this filtering effect. For this reason, the amount of high-end
damping depends on the amount of time that the signal carries - the signal thrown back by the
room becomes muddier as time goes by. This effect is stronger with walls that have soft surfaces
(wood, wallpaper) than it is with walls that have hard surfaces (glass, tiles). Consequently, high-end
damping has a significant influence the vibe and warmth of the room sound.
REVERB COLOR
This parameters influences the room’s static frequency response. Natural reverb will always have
some high-frequency attenuation since the sound bounces off at least one wall. REVERB COLOR is
identical to DELAY COLOR; here you’re dealing with a variable filter that can act as a low-pass filter
(negative control range) as well as a high-pass filter (positive control range). For a natural-sounding
room simulation, you should always set REVERB COLOR to a slightly negative value to dampen the
higher frequencies of the room signal. This will make the effect sound more authentic and the room
sound warmer. You can, however, opt to create interesting artificial-sounding effects by cutting the
lower frequencies radically. To this end, experiment by varying the high-pass filter within REVERB
COLOR’s positive control range.
REVERB COLOR is a static filter, which means it generates a different effect than that of REVERB
DAMPING, where the amount of high-end damping is a factor of time.
In the signal path. the filter is located at the output of the pre-delay. This means that the filter also
influences pre-delay feedback (REVERB FEEDBACK, see below) when you use this parameter.
Reverb Type Pre-delay
AMBIENCE
with up to 500 ms of pre-delay
SMALLROOM
with up to 400 ms of pre-delay
LARGEROOM
with up to 300 ms of pre-delay
RESONANCE
with up to 150 ms of pre-delay
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