Lower densities give more space between the reverb’s first reflections and subsequent reflections.
This is similar to early reflections diffusion but affects the reverb “tail.” Many reverbs use a single control for both diffusion parameters. How Genesis’s Peter Gabriel and Phil Collins stumbled upon the '80s gated-reverb drum sound.However, for vocals and other sustained sounds, reduced diffusion can give smooth reverberation that doesn’t overpower the source and maintains clarity. For percussive instruments, lots of diffusion avoids the “marbles bouncing on a steel plate” effect caused by too many discrete echoes. Reducing diffusion creates more discrete echoes. Increasing early reflections diffusion pushes the early reflections closer together, thickening the sound. (Image credit: Universal Audio) Modulation rateįor reverbs with modulation, this determines the rate at which modulation changes occur. Damping affects overall tone, so setting it “oppositely” often works well (lots of damping with a bright-sounding song to warm it up, little damping if the song needs more “air”). With softer surfaces (e.g., a hall packed with people), the reverb tails will lose high frequencies as they bounce around, producing a warmer sound with less “edge.” If your reverb has an artificial-sounding high end, add damping to create a warmer sound. However, “wrong” settings can sometimes create useful sounds. Reverb presets often link the decay time and room size parameters so you don’t end up with, for example, a small room with a very long decay. Long reverb times may sound impressive on instruments when soloed, but rarely work in an ensemble context (unless the arrangement is sparse).
This determines how long it takes for the reflections in the room to run out of energy.
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The 10 best reverb pedals 2020: our pick of the best guitar effects.Also, increase pre-delay to give the feeling of a bigger space for example, large room sizes tend to work well with significant pre-delay. Setting a slight pre-delay offsets the reverb from the dry signal, which can prevent reverb from “stepping on” the signal being reverberated. Simulates the amount of time it takes for a sound to leave its sound source and create a first reflection.
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