Reverb

Reverb is a delay-type effect and is similar in many ways to the Simple Delay and Multi-Tap Delay FX. You can immediately see from the plug-in window that Reverb has many more controls to subtly adjust the delay and potentially make it sound more natural. On the track level. Reverb can be used to bring a part out of the mix, although it should be used cautiously and with restraint. Here is how Reverb works  

Irequencies above the one selected with the slider. This is like a high-shelf filter in some of the EQ plug-ins. You should be careful when filtering the higher frequencies since these are the exact frequencies that are most important to the spatial sense of a sound. 

While you probably want to use reverb on the Master bus at the end of a project to keep all of the tracks in the same space, you may want to solo one of the primary tracks and adjust the reverb while listening to it alone. Reverb is more clearly beard in solo instrument and voice parts. Of course, before you settle on a final effect setting, you will need to fine tune the reverb for the whole project. 

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First, you must Learn Digestions, Distillations, Sublimations, Reverb-... 

Alles [Alles, 1977] further expands on the 4B oscillator module by describing the design of a matching filter and reverb module using the TRW multiplier. A separate switch module allows for the arbitrary interconnection of the functional units. The switch itself was a small processor with a simple instruction set. 

Note that a spring reverb is essentially a one-dimensional structure, plate reverbs are primarily two-dimensional, and concert halls are three-dimensional. Since each of these increases in dimensionality is associated with a significant increase in quality, it is reasonable to conjecture that simulated reverberation in four dimensions or more may be even better. 

Moorer proposed a slightly different structure, shown in figure 3.7, where the late reverb is driven by the output of the early echo FIR filter [Moorer, 1979], Moorer described this as a way of increasing the echo density of the late reverberation. The delays D and D2 can be adjusted so that the first pulse output from the late reverberator corresponds with the last pulse output from the FIR section. The gain g serves to balance the amount of late reverberation with respect to the early echoes. An important feature of this structure, apart from the early echo modeling, is the control... 

Once we identified the solvent used to store the column, we need to plan the equilibration protocol for the column. Assume that we are dealing with a reverb-phase column that was stored in acetonitrile, and that we want to use a mobile phase consisting of a 1 1 mixture of a buffer and methanol In order to avoid a precipitation of the buffer in the column, we should first purge the column with a few column volumes (1-3 is enough) of a 1 1 mixture of methanol and water before we switch to the methanol-buffer mobile phase. You should also be aware that the column backpressure will increase roughly... 

REVERB Model of the Standard MHTGR Primary Coolant System... 

The REVERB model for main loop operation is shown in Figure 3.9-2. The parametric input include cavity volumes, window areas, density, and damping factors. The circulator is modeled as two acoustic power sources, one at the circulator inlet and one at the outlet assuming 90 percent of the power is released downstream and 10 percent upstream. 

REVERB MODEL OF THE MHTGR PRIMARY COOLANT SYSTEM... 

Reverb and forward primers anneal -DNA polymerase starts copying... 

Track FX are generally simpler versions of some of the other effects available from Sonic Foundry, such as the XFX series of plug-ins. Some types of effects work better on a project level, such as using Reverb to create a room atmosphere for an entire song. Some effects are best used at the track level, such as using a Noise Gate to remove the hum of a camera motor in the soundtrack of a video clip. Track FX are optimized for ease of use on tracks but can be used at the bus and project level as well. Likewise, there is no reason not to use ExpressFX or XFX on the track level either. 

More than one effect can be used at a time on a single track, bus, or project. FX are applied in a particular order in an FX Chain. The order of plug-ins can be important in the final sound. Some FX belong very late in the chain (such as EQ and Reverb) and some earlier (Compression). Others shonld be used in a particular order. Track FX plug-ins are usually applied in this order Compression, Noise Gate, and, finally, EQ. This is not a hard and fast mle, and there may be creative reasons why you d want to alter this sequence. FX chains and ordering are discnssed in more detail in the next chapter. 

Delay/Chorus Chorus, Flange, Phaser, Wah-wah, Delay, Multi-Tap Delay, Simple Delay, Reverb... 

There are two distinct purposes for busses to group tracks and to route tracks to hardware devices. Within the context of tracks, bus FX would most commonly be used to group tracks and apply the same effect to all of them with identical settings. Perhaps one example would be to apply equalization to a group of tracks to bring them out of the mix as a unit. This is also a more appropriate location for a Reverb effect, where the grouping of the tracks ensures the instruments sound like they are in the same virtual space. 

The last effects in a chain are best used at the project level as Master bus FX. A Reverb effect is often the last effect used in a chain. Reverb is also a delay-type effect and adds space to a mix, simulating various room types and environments. Use caution when applying reverb at the track level, so that various tracks don t sound like they were recorded in different rooms (although reverb is commonly used on drums and vocals to bring these parts out of a mix). EQ fdters can also be used at the project level to polish a mix in the final stages, although it is better to take the time and use EQ more precisely at the track level to highlight individual parts and instruments. 

The Dry out/Eteverb out fader controls the mix of the original signal with the processed signal. Reverb out is the main part of the effect and is heard as a delay or echo. 

The Early reflection style list has ten modes that allow you to set the bright and very quick reflection that occurs before the main reverb. Again, this can most clearly be heard by turning down the Dry out and Reverb out sliders. 

Decay time is how quickly the reverb fades out. It affects only the reverb and not the Early reflection and can produce a sort of sustain effect on notes that simulates the characteristics of the room. 

The Pre-delay determines the main reverb delay or echo and provides the first clue about the size of the virtual space. This slider also affects only the reverb and not the Early reflection. 

This effect has fewer controls than the XFX Reverb plug-in but still produces a very bigb-quality and satisfying reverb. Tbe different controls with their less technical names make this plug-in easier to use in many cases. 

The Preset list and Room type lists work together to set the overall operation of the effect. Select a Preset first and then a Room type to modify it. As with the XFX Reverb plug-in, tbe Room type sets internal parameters that cannot be adjusted by the user. 

The Room size slider essentially adjusts the delay time and has a similar effect as the Pre-delay slider in the XFX Reverb effect. 

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