This powerpoint presentation discusses different types of reverb effects used in music production. It explains that reverb is used to make instruments sound like they were recorded in an actual space. There are two main types: convolution reverb uses real recordings of room acoustics, while algorithmic reverb mathematically generates reverb. The presentation covers key aspects of both such as impulse responses, decay time, and room design parameters. It aims to educate about reverb tools and techniques for making mixes sound natural.

1. A power-point presentation
By Syed Shozab Abbas

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 Syed
 I’m a student
 I live in India
 I started this course because I am
interested in pursuing music 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.