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Sean Drennan's Guide to Reverb Types, Features and Design
- 1. A power-point presentation By Sean Drennan
- 2. Introduction What is Reverb? Convulsion reverb features Algorithmic reverb features Time Design Room Design EQ of a Reverb Reflection
- 3. Hi, my name is Sean I’m a student I live in Ireland I started this course because I am interested in pursuing music production as a career later in life
- 4. Reverb (reverbation) is the persistence of sound in a particular space after the original sound is produced. It’s is an effect that gives us a sense of a space. It’s used to make an instrument sound natural, like it was recorded in actual room. It’s a very important component in most modern mixes. In most cases one type of reverb is given to all instruments in the mix giving it a feeling that all of the instruments were recorded in the same kind of environment. There are two different categories of reverb plug-ins: alhorithmic and convultion reverb.
- 5. Convolution reverbs use real sound samples, recorded from real rooms (or modified but based on real recordings in some cases) known as “Impulse Responses”. In algorithmic reverbs, sense of space is created in mathematic formulas, similar to how synthesizers create sound. It offers many opportunities to create the sound of a space but it would not sound very realistic since it only emulates it.
- 6. In convolution reverb most of what you do is choosing an Impulse Response, that means a recording of an actual space and you see if you like it. Of course you can manipulate all the features such as attack (determines how quickly reverb starts to work), decay (determines the time needed for effect to fall off), the lenght or the wet/dry field with which you can set the proportions between original and processed signal.
- 7. Unlike in Convolution reverb here you’re actually creating your own virtual room instead of using pre-recorded samples
- 8. Every algorithmic reverb plug-in can be more or less different from one another in terms of features but every one of them will have a section dedicated to setting up a decay, predelay and attack to your reverb. Note: If you’re trying to create a sound of an actual room keep the reverb time at less than 2 seconds. Anything more than that would sound rather unnatural
- 9. The same thing applies to “room design”. It’s the second fundamental section of algorithmic reverb effects and here you can make your own “virtual recording room” setting it’s height, width etc.
- 10. Changing the high cut filter is like changing the materials in the space (more of high frequencies gives you sense of being in empty room with hard walls, and on the other hand less of high frequencies gives you feeling of a warm, curtain filled room).
- 11. Thank you for reading this power-point presentation hope you liked it and if you have any feedback or questions feel free to ask me and Thank you again.