118 CHAPTER 16
The Parameters
high-end damping has a significant influ-
ence the vibe and warmth of the room
sound.
01111111111111111112
1 REVERB
Damping 12≤
61111111111111111154
[XP] REVERB PREDELAY This parameter
controls the pre-delay time of the given
room simulation.
In a real room, sound travels quite a dis-
tance and is reflected at least once
before it reaches your ear. This means
that a certain amount of time elapses
before you hear the earliest reflections
of the room signal. The bigger the room,
the longer it takes for the reflected sig-
nal to reach your ear. This effect is emu-
lated in a room simulation be means of a
parameter called pre-delay. Irrespective
of the values set for the other REVERB
parameters, the amount of pre-delay has
a decisive impact on our perception of
the size of a room.
When you set a high pre-delay value -
say some hundred milliseconds - you’re
actually creating an “unnaturally” large
room. The room simulation will sound
washed out or much like a diffuse echo.
Pre-delay has a formative effect on room
simulation, particularly since - like with
the pure DELAY algorithms - you can use
it to match the reverb effect to the
rhythmic context. And like the DELAY
parameters, pre-delay is infinitely vari-
able, it is suitable for generating feed-
back, and it can be synced up to the
global clock generator.
REVERB PREDELAY controls the absolute
pre-delay time in milliseconds (ms). The
peak value depends on the room size
(REVERB TYPE, see above) that you have
selected because the room simulation
and pre-delay share the same memory.
Pre-delay time is infinitely variable.
Changing the delay time bends the pitch
of the reverb signal. REVERB PREDELAY
will not appear in the display when the
pre-delay amount is determined via
REVERB CLOCK (see below).
01111111111111111112
1 REVERB
PreDelay 500.0≤
61111111111111111154
[XP] REVERB FEEDBACK Available exclu-
sively for the Rev+Feedb1 and
Rev+Feedb2 algorithms, this parameter
controls the amount of pre-delay feed-
back. Here the room signal is repeated at
intervals that are determined by the pre-
delay time. Note that the signal level
fades gradually. REVERB COLOR also has
an influence on feedback. The intensity
of the filtering effect generated by the
low-pass or high-pass filter increases
with every repetition. Feedback is subtle
when the decay time of the room
(REVERB DECAY TIME) is long. The effect
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