Breverb Manual

Overloud BREVERB - User Manual US
reverberation plugin
All rights reserved Overloud is a trademark of Almateq srl All Specifications subect to change !ithout notice Made "n "tal# !!!$breverb$com
Table of Contents
1. Introduction 3
2. Schematics 4
3. Behind the Curtain 5
4. BREVERB ra!hic Interface "
%$&$'he Sound (hain$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ )
%$*$'he +nob Section$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ ,
%$-$'he Advanced .ader /anel$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &0
%$%$'he (entral Menu and its (ommands$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &&
5. #arameters 15
1$&$Master$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &1
1$*$Master 23$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &4
1$-$5ate$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &6
1$%$7all 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ &)
1$1$8oom 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *0
1$4$/late 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *&
1$6$"nverse 8everb$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *-
1$)$M"9" "mplementation$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ *%
2
1. Introduction
:82;28:< the ne!born in Overloud=s famil#< is one of the most complete high-end-studio-qualit#
reverbs ever seen$ "t offers a suite of % high-qualit# reverb algorithms>
$all
Room
#late
In%erse
All are specificall# designed to give the sound of an acclaimed high-qualit# outboard reverb unit$
:82;28: offers high-qualit# musical reverb processing !ith a fle?ibilit# previousl# available onl#
in e?tremel# e?pensive hard!are reverbs$ :82;28: is also engineered to achieve the highest
levels of musicalit# helping #ou to place it perfectl# in an# mi?$
Unlike convolution reverbs @a reverb that reproduces the real impulse response of a real hallA
!hich recentl# have gained a lot of popularit#< :82;28: allo!s #ou to var# the nature of
reverberation through several parameters< giving #ou the fle?ibilit# and real-time feedback that has
al!a#s been a prerogative of the most famous studio digital reverbs$
3
2. Schematics
'he scheme above depicts :82;28:Bs signal chain$
the "nput signal is split in t!o> the 9r# portion !hich is the "nput sound !ithout an# change
!hatsoever< and the Cet portion !hich !ill carr# the "nput sound processed b# the 8everb module<
follo!ed b# the 23 and 5ate sections$ At the far right< at the end of the processing< the Output
section @the BDB in the schemeA !ill mi? the 9r# and the Cet channels in order to perfectl# set the
sound levels$
"f !e look at the lo!er part of the scheme and follo! the signal chain !eBll meet these modules>
Reverberation Unit> this is the core of :82;28:E it provides the main processing for the entire
unit$ Fou can choose bet!een four different reverberation algorithms !hich heavil# modif# the
internal structure of this module as #ou can see from the different set of parameters at #our
disposal for each algorithm$ .or an in-depth description of the concepts behind reverberation
algorithms and their functionalit# please head to the ne?t chapter$
EQ: this 23 Unit is a t!o-band full# parametric equaliGer$ 2ach band is allo!ed to span the entire
audio spectrum and can be operated !ith the usual set of three parameters> 5ain @d:A<
.requenc# @7GA and 3 factor @HA$ Chile the first and the second parameters !ill set the
amount and frequenc# of the process< the 3 factor is a little more comple?> in a common
situation it !ill set the !idth of the 23Bs bell-shaped curve< but at the e?treme settings it !ill
turn the 23 into a second order Shelf 23 @high for band & or lo! for band *A or a filter @a
high-pass for band & and a lo!-pass filter for band *AI
Gate: the 5ate is a sophisticated s!itch that lets #ou mute the !et sound in different fashions<
according to its parameters$ As !ith an# d#namic processing process it has gain-detection
mechanism !hich anal#ses the dr# sound level$ 'he 5ate can be ver# effective in getting
special effects or to clean up the sound a bit in situations !here the tail of the reverb tends to
mudd#-up the mi?$ 'here are several parameters to control its action> 'hreshold @d:A< Attack
@SecA< 8elease @SecA< 7old @SecA< Shape @Jinear or SigmaA and Slope @HA$ 'he 'hreshold
parameter sets the limit @e?pressed in d:A under !hich the gate !ill close$ 'here is an
automatic Kre-openL threshold that is set b# :82;28:Bs engine after anal#sing the signal
characteristics$ 'he Attack sets the time needed b# the gate to s!itch from closed to open<
!hile the 8elease parameter sets the amount of time it takes for the 5ate to close$ 'he 7old
parameter adds an amount of time in !hich 5ate remains open even if the signal level drops
belo! the 'hreshold$ 'he Shape parameter controls the shape of the attenuation curve> #ou
can choose bet!een Jinear and Sigma shapes$ "f the Shape parameter is set to Sigma< the
Slope parameter !ill control the e?act shape of the BSB> higher values mean a steeper curve$
4
3. Behind the Curtain
:efore !e ump to the detailed description of the programs and parameters< let=s take a look at the
philosoph# la#ing behind :82;28:Bs reverberation algorithms$
:82;28: is the result of a great deal of research into acoustics and reverberation$ "t !ill produce
sound of t!o t#pes> ambience and effect sounds$
Ambience is the use of reverberation or reflected sound energ# to give recorded music a sense of
depth equivalent to the one naturall# present !hen recording a performance in a real acoustic
location$ "deall#< ambience imparts !armth< spaciousness and depth to a performance !ithout
colouring the direct sound at all$
8ecent research has sho!n that this phenomenon depends most criticall# on the shape of the
initial reverberation build-up and deca#$ Ambience is perceived and has a benefit !hile the music
is running< but once the reverberation has deca#ed about &1 d: from itBs start level it is no longer
audible in the presence of the direct sound$ So the time it takes for the sound to build-up and
deca# &1 d: determines the perceived reverb time< regardless of !hat the deca# time to -40 d:
@commonl# referred to as 8'40< a !a# to measure reverb time of real and virtual acoustic spacesA
is$ Some ver# good halls for recording have a rather uneven initial build-up and deca# that gives a
much longer effective reverb time than their 8'40 reverb time might suggest$
"t has become common practice to use predela# in an attempt to emulate the sound of these halls<
but the result al!a#s sounds unnatural$ "n fact if !e look carefull# into echograms of real halls !e
can see that the sound builds-up graduall#< !hile the use of predela# imparts a sharp attack to the
reverb making it sound completel# different$
:82;28: can manipulate the build-up and deca# of the initial part of the reverberation envelope
in order to obtain a sound !hich is ver# natural but at the same time ver# adustable$ 'he primar#
controls allo!ing #ou to modif# this initial part of the envelope are S7A/2< S/82A9 and S"M2$
Chile S7A/2 controls the shape of the reverberation envelope< S/82A9 and S"M2 set the time
over !hich this shape is active$ "n other !ords< S"M2 acts as a master controls for the apparent
siGe of the space being created b# :82;28:> once it is set< S/82A9 and S7A/2 are used to
adust the duration and shape of the initial reverb envelope< !hich together provide the main sonic
impression of a roomBs siGe$
Chen S7A/2 is at minimum< the initial part of the reverberation envelope builds-up ver# quickl# to
a ma?imum amplitude and then dies a!a# quickl# at a smooth rate> this envelope is characteristic
of small reverberation chambers and plates and the sound created is ineffective in order to create
ambience$ 8educing the initial sharp attack b# raising the S7A/2 control causes the reverb to
build more slo!l# and to sustain briefl# before it dies a!a#$ 'he more the initial attack is reduced<
the slo!er the envelope builds-up and the longer the sound sustains$ Chen the S7A/2 control is
raised at more or less a quarter of its ma?imum value< S/82A9 has ver# little or no effect at all$
Once that limit is surpassed S/82A9 can affect the length of both the buildup and the sustain$ :#
raising the S7A/2 value even further the buildup and the sustain remain similar !hile a secondar#
sustain sho!s up at a lo!er level than the first one> this simulates a ver# diffused reflection of the
back !all of a hall< and it is ver# effective in creating a sense of siGe and space$ 'his reflection
mode reaches an optimal loudness at S7A/2 values higher than half !a# though$ "t is important to
note that none of these shape effects are clearl# audible unless '"M2 is set short enough$
5
JetBs focus on the '"M2 parameter for a moment$ As a starter itBs mandator# to state that '"M2 is
calculated follo!ing the 8'40 method< !hich means that it measures the time interval bet!een the
beginning of reverberation and !hen the tail reaches -40d: in level$ .ollo!ing this much needed
clarification itBs important to highlight '"M2Bs strong logical connection !ith the S"M2 parameter$ 'o
better e?plain this concept< letBs make an e?ample> if #ou set S"M2 to a lo! value< roughl#
corresponding to a small room< and '"M2 to a high value< #ou are tr#ing to model a totall#
unrealistic situation$ "t !ould be better to set a '"M2 parameter so as to match a given S"M2
parameter< in order to obtain a more realistic solution and a better performance form the reverb$
Nevertheless #ou (AN still have this setting on :82;28:> ust donBt e?pect that it !ill sound
perfectl# naturalI
'he effects class of sound does not aim to give an idea of space or to reproduce a specific hall or
recording room< instead it tries to set a particular colour< and in doing so it allo!s #ou to !ork on
#our creativit#$ '!o families of algorithm match this class of sound> plate and inverse$ 2ach one of
them is different> the first one is a plate reverb simulation inspired b# vintage hard!are that can
faithfull# recreate the thick sonic character and also the unusual effects that !ere t#pical of vintage
hard!are units$ 'he second one is a completel# ne! and creative kind of effect that take the
impulse response and flips it over< giving #ou a brand ne! soundI
6
4. BREVERB ra!hic Interface
Pict.1> :82;28:Bs :asic "nterface
Chen #ou open :82;28:Bs interface @after #ou successfull# authoriGed itIA< #ou face the front
panel !hich is made-up of several parts> each one of them has its o!n particular function$ At first
sight #ouBll see the "n and Out level !hich form the sound chain< a central menu !hich include
several fundamental commands and the solution !e adopted to select algorithms and presets< plus
a series of knobs that can set the parameters being sho!n in the bo?es right above each of them$
On the top left corner of the plugin #ou can click on the KOL button to open the manual and clock on
the circular button to open the credit !indo!$
/lease note that #ou can set ever# parameterBs value in different !a#s>
clicking on the knob or on the relative displa# and dragging it so as to KoperateL the knobE
clicking on the displa# and t#ping the ne! value on #our ke#board @in order to set the
K-infinit#L value on the Jevel .ader #ou can t#pe a value that is lo!er than -&00 or else #ou
can t#pe the string K-ooL !ith t!o KoLA$
"n order to get a better control< #ou !ill see that click and dragging the mouse quicker !ill make
parametersB changes happen faster$
'he mouse sensitivit# to speed changes can be set in the /references /anel$
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4.1 The Sound Chain
Pict. 2> 'he sound chain
'he sound chain is composed of the "N and OU' faders and meters$
'he IN meter @located on the left of the plugin !indo!A displa#s the input level for the left and
right channels independentl#< !hile the IN fader lets #ou set that level$ At the end of the fader
there is a displa# sho!ing the numerical value @measured in d:A of the input level chosen> the
range span from -P to D&* d:$ 8ight under the meter< there is a value sho!ing the peak level
reached b# the input signal$ Chen #ou open up the plugin the value sho!n is the lo!est
possible< -,4d:< but as soon as an input is present< this value !ill change according to the
input$ "f #ou !ant #ou can reset the value b# clicking on it$
'he OUT ection is a little more comple?> it is made up of a level meter @split into left and right
channel vie!sA< t!o faders< one controlling the 9r# Sound and the other the Cet Sound< and
t!o split-horiGontal sliders that control the pan pot$ Jike the input section< under the fader
there are the displa#s sho!ing the numerical values of the dr# and !et levels> the range is the
same as for the "N fader$ 'he pan sliders are split into left @the upper sliderA and right @the
lo!er oneA channels and can be operated !ith the mouse$ 8ight under the OU' meter there is
a peak indicator for the output levelE this value can be reset b# clicking on it$
8
4.2 The &nob Section
Pict. !> 'he knob section
"n the lo!er section of the plugin #ouBll find si? knobs and si? Gones !ith labels and relative values associated to the knob
underneath$ .or a complete list of parameters grouped under algorithmBs t#pe see the Appendi?$ 'his section is
organiGed in pages in :82;28: and #ou can shift from a page to another !ith a click on its title tab$ 'he 23 and the
5A'2 tabs also feature a s!itch activating or b#passing the !hole section$
EQ: the 23 section is a full# parametric t!o-band equaliGer that
lets #ou set< for ever# band< the 5ain @in d:A< the .requenc#
@in 7GA and the 3 factor of the signals$
Once #ouBve set it up< #ou can enable or disabled it even
!hile #ouBre on the 5eneral page b# clicking on the led-
square on the right of the 23 title tab$
G"TE> the 5A'2 section is a sophisticated s!itch that mutes the processed sound according to
the settings of its parameters$ QSee the Appendi? for a full descriptions of themR Sust like the
Master 23< once itBs set up #ou can s!itch it on or off as #ou like !hile setting other
parameters$
9
Pict.#: 23 enabled and 5ate
disabled
4.3 The 'd%anced (ader #anel
Pict. $> 'he advanced panel and the drag T drop assignation of parameters to the faders
On the upper right corner of the plugin< #ou can see three small
buttons @see /ict$ 4aA$ 'he# control the s!itch bet!een the :asic
and the Advanced interface modes$ (licking on the topmost one<
the Advanced interface mode is activated< !hich sports an
e?panded long-thro! fader panel on the right of the main interface$
(licking on the KDL and K-L buttons< #ou can add and remove one
additional fader at a time$ Fou can have a ma?imum of 4 faders
opened$ (licking again on the topmost button< #ou s!itch
:82;28: back to the :asic interface vie!$ On the lo!er right
corner of the plugin #ou can find another button @see /ict$ 4bA
!hich activates and deactivated the Advanced mode sho!ing the
additional faders in the bottom of the plugin$
'he additional faders are freel# assignable and totall# user-
programmable b# dragging-and-dropping a specific parameter on
them$
Mapping an# parameter to a knob is ver# eas#$ Sust right click @or
(trlDclickA on an# parameter knob or name on an# of the plugin pages and drag and drop the parameter on the chosen
fader$
'his solution !ill make #our most sought-after parameters at immediate disposal for modifications$ 'he mapping is saved
!ith the preset or #ou can make #our o!n preset mapping for each algorithm @in the /references /anelA$
10
Pict. %a: 8ight side
:asic and Advanced
modes s!itching
buttons
Pict. %b: :ottom side
:asic and Advanced
modes s!itching
button
4.4 The Central )enu and its Commands
Pict. &> 'he (entral Menu
'he central area of the plugin is the home to the main menus and buttons$ "n the section at the
right of this area #ou !ill find the algorithm selector and the presets menu< !hile in the section at
the left is !here #ou !ill operate the buttons controlling the Joad< Save< Save As< 9elete< AU:< A-
V:U:-VA< Undo and 8edo functions$
T'e a()orit'm e(ector> clicking on the combo selector in the upper position lets #ou choose
among the t!o algorithms at #our disposal in :reverb/2$ (licking on an# of the t!o !ill
activate the default settings for the selected algorithm if #ou never loaded that algorithm
before for that preset$ :reverb/2Bs preset structure holds all parameters for all algorithmsE this
is helpful if #ou need to recall settings from another algorithm #ou !ere !orking on at an# time
or if #ou happen to mistakenl# s!itch algorithm$
T'e *reet (it> beneath the algorithm selector< thereBs a bo? featuring the name of the loaded
preset< a tin# round button to the right of it and a list of folders
for the presets$ '!o small arro!s in the left part of the bo?
lets #ou to change the selected preset up and do!n in the listE
this is useful !hen #ou !ant to scan the sound of different
presets$ 'he list can be scrolled up and do!n !ith the scroll
bar or !ith the mouse-!heel and features folders named after
the algorithms !hich hold the relative algorithmBs presets$ 'he
folders are marked b# a small triangle pointing to the right>
clicking on it gives #ou access to the folderBs content< !hich
!ill be sho!n right under its name$ (licking a second time on
the triangle @no! pointing do!n!ardA makes the folder vie! collapse$ 9ouble-clicking a preset
name or selecting it and hitting the KJoadL button !ill load it$ 'he small round button alongside
the Kloaded presetL field is merel# and indicator advising #ou the the loaded presets !as
changed since it !as loaded thus requiring a save command if #ou !ish to have it updated in
the preset list$
11
Pict. 8:
the modified- preset indicator
+ommand b,tton> on the left of the preset menus #ou can see several buttons that refer to the
pluginBs file and editing management>
-oad having selected a preset in the preset menu on its right< click on this button to load
that preset$ 'he same action can be obtained !ith a double click on the preset name in
the preset menu$
Save after having t!eaked something on a preset< click this button to save the changes$
"f #ou created a ne! preset starting from the default settings #ou get !hen opening the
plugin< then clicking this button !ill trigger the same function as the KSave AsL button$
Save " if #ou !ant to save a modified preset !ith another name< then this button is for
#ou$
.e(ete as the name suggest< clicking this button has the effect of deleting the preset
selected in the preset menu on its right @"M/O8'AN'I> not the loaded presetA$
"UB this is a dual state buttonE it can be used to store and manage t!o different settings
that #ou ma# !ant to compare$ .or e?ample< after setting up the plugin in order to
obtain a specific result< #ou might !ant to e?periment !ith a different setting !hile
keeping the one #ouBve ust been !orking on$ (licking on the KAL button !ill turn the
button to sho! a K:L activating the relative settings$ Fou then t!eak the settings in order
to find the alternative result$ Once #ouBve done !ith the K:L settings< clicking on the K:L
button s!itches bet!een the KAL and K:L states and settings letting #ou quickl# compare
the t!o sounds$
" to B/B to " this is another dual-state button serving as a BhelperB for the AU: one$
(licking on it !hile in the KAL state of the plugin of the above mentioned button !ill cop#
the KAL settings to K:L$ 'he opposite happens !hen K:L is active$ 'his is the solution if
#ou need to slightl# t!eak an alread# rather-good preset and to make comparisons in
#our mi? !ith the former settings$
Undo and Redo these t!o buttons control the undo-histor# letting #ou revert back or
for!ard to a previous plugin parameter change #ou might have made$
12
Preference Pane(
Pict. 9: The Preferences Panel
(licking on the square button in the upper left corner of :82;28: as sho!n in /icture 4< !ill dim
the main displa# and sho! the /references /anel in its place$ JetBs its features>
Set mater contro( at *reet (oadin)> !hen unselected< loading a specific preset !ill not
have an effect on the current settings of the Master (ontrol section @9r#< Cet< pan< etc$A$
Chen selected< loading a preset !ill also load the said Master (ontrol section$ 'his
preference lets #ou operate :reverb/2 in t!o different !a#s> in the Bold-fashionedB !a#
!here levels and panpots are al!a#s the same !hen s!itching preset and the BalternativeB
!a# !hich lets #ou save and load presets !ith specific levels and panpots @"2$ a stereo input
reverb !ith a mono output panpotted all the !a# to the rightA$
S'o0 factor1 *reet> this preference controls !here the .actor# preset !ill be sho!n in the
preset menu$ Chen the KCith user presetsL checkbo? is selected< the .actor# presets !ill be
sho!n together !ith the User presets$ Chen the K"n a separate folderL checkbo? is selected<
the .actor# presets !ill be sho!n in a separate folder$ 'his preference lets #ou choose the
preferred !a# of bro!sing the presets> either all .actor# or all User presets at once< or both
of them together$
Pict. 10: In a separate folder is selected on the left, With user presets on the right
Senitivit1> it controls the sensitivit# of the mouse !hen used to operate a knob or a fader$
Chen set to a value different from 0< the faster #ou move the mouse< the faster the
parameter !ill change$
Save (ider aociation> !hen active< once #ouBve set up the parameters to be controlled b#
the long faders in Advanced mode< these settings !ill be remembered b# :82;28:$ Chen
#ou open up the plugin< it checkes if the feature is set and if it isnBt it !ill load the default
13
association$ 8estore 9efault Associations !ill revert the faders back to their initial
association settings$
14
5. #arameters
"n order to use all the functionalit# of :82;28:< !e !arml# recommend to read this chapter and
learn all of its features$ Among the parameters there is a group of them that is common to ever#
algorithm> !e !ill describe them ust once at the beginning$ 'he# are grouped into t!o different
families of parameters< one of !hich is also characteriGed b# an enableUdisable s!itch at the right
corner of the title tab$
5.1 * )aster+
In -eve(> @d:A 9etermines the global input level of the pluginE its action is prior to the input level
meter$
.r1 -eve(> @d:A 9etermines the level of the direct unprocessed soundE it is t#picall# set to
P !hen the reverb is used on an au?iliar# bus$ Chen used in an insert< graduall# lo!ering
this parameter can give the idea of a more distant sound$
2et -eve(> @d:A 9etermines the amount of the reverberation in the output stage$
.r1 - Pan> Sets the pan position of the left input channel fed into the final mi?$
.r1 R Pan> Sets the pan position of the right input channel fed into the final mi?$ "n combination
!ith the previous parameter< it can be used to control the stereo !idth of the dr# signal$ .or
e?ample< the 9r# can be made mono b# setting both these t!o parameters to the mid
positionE the stereo image can be inverted b# setting the 9r# J /an to right and the 9r# 8
/an to left$
2et - Pan> Sets the pan position of the left reverberated channel fed into the final mi?$
2et R Pan> Sets the pan position of the right reverberated channel fed into the final mi?$ "n
combination !ith the previous parameter< it can be used to control the stereo !idth of the
reverb$ .or e?ample< the Cet channel can be made mono b# setting both these t!o
parameters to the mid position< or the reverb stereo image can be inverted b# setting the
Cet J /an to the far right and the Cet 8 /an to the far left$
15
5.2 * )aster E,
'his section features a full# parametric t!o-band equaliGer$ "t lets #ou set the 5ain< .requenc# and
3 factor of each band< letting #ou shape #our sound as #ou like$ (licking on the square-led located
in the right corner of the title-tab s!itched the 23 on and offE this is an useful feature to compare
the effect !ith and !ithout the 23$
P1 Gain> @d:A sets the 5ain for band &$
P1 3re4> @7GA sets the center frequenc# for band &$
P1 Q> @HA Normall#< it sets the !idth of the bell-shaped curve for band &< but at its e?treme
settings !ill turn it into something completel# different$ "n fact< setting this parameter to its
minimum value @((CA !ill transform the 23 into a Second Order Jo! Shelf< !hile turning
the parameter to its ma?imum value @(CA !ill transform the 23 into a 7igh-/ass .ilter !ith
a &*dbUoct slope @the /& 5ain parameter !ill not have an# effect in this caseA$
P2 Gain> @d:A sets the 5ain for band *$
P2 3re4> @7GA sets the center frequenc# for band *$
P2 Q> @HA Normall#< it sets the !idth of the bell-shaped curve for band *< but at its e?treme
settings !ill turn it into something completel# different$ "n fact< setting this parameter to its
minimum value @((CA !ill transform the 23 into a Second Order 7igh Shelf< !hile turning
the parameter to its ma?imum value @(CA !ill transform the 23 into a Jo!-/ass .ilter !ith a
&*dbUoct slope @the /& 5ain parameter !ill not have an# effect in this caseA$
16
5.3 * ate
'he 5ate is a sophisticated s!itch that lets #ou mute the !et sound according to its parametersB
settings$ As all other d#namics-based effects it has a level-detection unit set to respond to the dr#
input level$ Sust like the Master 23 control< 'he 5ate can be s!itched on and off b# clicking on the
little square led located in the upper right corner of its title tab>
T're'o(d> @d:A 'he 'hreshold parameter allo!s #ou to set the level limit in d:> !hen the level
goes under this threshold< the gate is activated$ An automatic Kre-openL threshold is also
featuredE :82;28: sets it automaticall# after an anal#sis of the incoming signal content$
"ttac5> @SecA 'he Attack parameter sets the time needed b# the gate to s!itch from closed
@activeA to opened @not-activeA$
Re(eae> @SecA 'he 8elease parameter sets the time it takes for the 5ate to close completel#$
6o(d> @SecA 'he 7old parameter sets the amount of time the gate !ill remain opened @not-
activeA regardless of the input level and the threshold setting$
S'a*e> @Jinear or SigmaA 'he Shape parameter allo!s #ou to shape the attenuation curve> #ou
can choose bet!een linear and sigma $
S(o*e> @HA "f the Shape parameter is set to Sigma< the Slope parameter !ill control the e?act
shape of the BSB> higher values mean a steeper curve$
Note> 8elease and 7old can be s#ncBed to the host :/M
17
5.4 * $all Re%erb
Genera(
Time> @SecA '"M2 sets the duration of the reverberation tail$ "tBs also influenced b# the S"M2
parameter$
Si7e> sets the rate of build-up diffusion after the initial period< !hich is controlled b# the
9"..US"ON parameter$ "t also acts as a master control for '"M2 and S/82A9$ 9espite its
name< the apparent siGe of the space created is actuall# a combination of the settings of the
S"M2< S7A/2 and S/82A9 controls$
.iff,ion> controls the degree to !hich the initial echo densit# increases over time$
S'a*e> it !orks together !ith the S/82A9 parameter to control the overall ambience of the
reverberation created b# :82;28:$ "t specificall# determines the contour of the
reverberation envelope$ Cith S7A/2 all the !a# do!n< reverberation builds e?plosivel# and
deca#s ver# quickl#$ As S7A/2 value is raised< reverberation builds up more slo!l# and
sustains for the time set b# S/82A9$
S*read> controls the duration of the initial contour of the reverberation envelope$ Jo! S/82A9
setting result in a rapid onset of reverberation at the beginning of the envelope< !ith little or
no sustain< !hile higher settings spread out both the build-up and sustain$
Pre
Prede(a1> @SecA sets the amount of time elapsing bet!een the input signal and the onset of
reverberation$ "t can be used to create a sense of distance and volume !ithin an acoustic
space$
Re)en -: @HA controls the amount of left channel input signal !hich is recirculated into the
predela# dela# line$ 'his parameter can be used to obtain a longer reverberation time !ith a
more echoing tone$
Re)en R> @HA same as 8egen J but referred to the right channel$
8otion> sets the speed of modulation of the dela# lines$
.e*t'> sets the amount of modulation of the dela# lines in the reverbE together !ith the Motion
parameter< it can be used to make the reverb tail sound more d#namic< unpredictable< rich
and remove an# eventual resonance or metallic ringing$ Motion and 9epth should be used
carefull# on solo instruments like pianos< !ood!inds or sa?ophones to avoid chorusing
effects$ 'he# can be used more !ith aggressive settings on percussive tones< guitars and
mi?es$
Note> /redela# can be s#ncBed to the 7ost :/M$
18
3re4,enc1
'he parameters in this section control the colour of the reverberation tail and its duration for
different bands of frequencies$ "n particular< it is possible to set the reverberation time of the lo!
and high frequencies as a multiplier of the master reverberation time$
-o0> Sets the reverberation time of the lo! frequencies relative to the master reverberation
time$ "t is e?pressed as a time multiplier$ .or e?ample< setting Jo! to &$)? means that the
reverberation time of the lo! frequencies is &$) times longer than the master reverberation
time$
-o0 3re4> @7GA "t is the crossover frequenc# !hich defines the lo! frequencies$
6i)'> Sets the reverberation time of the high frequencies relative to the master reverberation
time$ "t is e?pressed as a time multiplier$ .or e?ample< setting 7igh to 0$4? means that the
reverberation time of the high frequencies is 0$4 times shorter than the master reverberation
time$
6i)' 3re4> @7GA "t is the crossover frequenc# !hich defines the high frequencies$
.am*in)> real environments tend to attenuate the high frequencies due to the damping factors
of the materials the !alls are made of or of the obects in the room !hich mostl# absorb high
frequencies$ 'he 9amping parameter controls the amount of this absorption and can be
used to simulate different t#pes of hall padding$
-o0 +,t> @7GA "t sets the cut-off frequenc# under !hich the tone is not reverberated$ "t can be
used to avoid rumbling in the lo! frequencies depending on the source material$
19
5.5 * Room Re%erb
Genera(
parameter$
Si7e> sets the apparent siGe of the acoustic space being emulated b# the algorithm$ ;alues from
minimum to half !a# up are t#pical !hen simulating the ambience of a recording studio$
.eca1> balances bet!een the late reverberation and the earl# reflections$ Chen the 9eca# is at
minimum onl# the earl# reflections are presentE !hen increasing it the late reverberation is
graduall# added$
8od
space$
parameter< it can be used for making a reverb sound more d#namic< rich and to remove an#
eventual resonance or metallic ringing$ Motion and 9epth should be used carefull# on solo
instruments like pianos< !ood!inds or sa?ophones to avoid chorusing effects$ 'he# can be
used more !ith aggressive settings on percussive tones< guitars and mi?es$
3re4,enc1
-o0> @7GA sets the frequenc# under !hich the reverberation is attenuated$
6i)'> @7GA sets the frequenc# over !hich the reverberation is attenuated$ Jo! and 7igh
parameters can be used to t!eak the frequenc# response of a room$
.am*in)> real environments tend to attenuate the high frequencies due to the damping factors
of the materials the !alls are made of or of the obects in the room !hich mostl# absorb high
frequencies$ 'he 9amping parameter controls the amount of this absorption and can be
used to simulate different t#pes of room padding$
20
5.- * #late Re%erb
Genera(
parameter$
Si7e> sets the apparent siGe of the plate emulated b# the algorithm$
.iff,ion> it controls the degree to !hich the initial echo densit# increases over time$
S'a*e> it determines the contour of the reverberation envelope$ Cith S7A/2 all the !a# do!n<
reverberation builds e?plosivel# and deca#s ver# quickl#$ As S7A/2 is raised< reverberation
builds up more graduall# and sustains longer$
8otion> sets the speed of modulation of the dela# lines$ "t can be used for for making a reverb
sound more d#namic< rich and remove an# eventual resonance or metallic ringing$
Pre
space$
Re)en: @HA controls the amount of input signal !hich is recirculated into the predela# dela# line$
'his parameter can be used to obtain a longer reverberation time !ith a more echoing tone$
3re4,enc1
21
-o0> Sets the reverberation time of the lo! frequencies relative to the master reverberation
time$ "t is e?pressed as a time multiplier$ .or e?ample< setting Jo! to &$)? means that the
reverberation time of the lo! frequencies if &$) times longer than the master reverberation
time$
-o0 3re4> @7GA sets the crossover frequenc# !hich defines the lo! frequencies$
6i)'> Sets the reverberation time of the high frequencies relative to the master reverberation
time$ "t is e?pressed as a time multiplier$ .or e?ample< setting 7igh to 0$4? means that the
reverberation time of the high frequencies if 0$4 times shorter than the master reverberation
time$
6i)' 3re4> @7GA sets the crossover frequenc# !hich defines the high frequencies$
.am*in)> depending on the age and material of the plate in the reverb unit the tail !ill be
graduall# attenuated in the high frequencies$ 'he 9amping parameter controls the amount
of this attenuation and can be used to simulate different kinds of plates$
22
5." * In%erse Re%erb
Genera(
Time: @SecA sets the duration of the reverberation$ 'his time< added to the /redela# time< is the
time that elapses from the direct sound to the end of the reverberation process$
reverberation$
parameter< it can be used to make the reverb sound more d#namic< unpredicatable< rich and
remove an# eventual resonance or metallic ringing$
3re4,enc1
-o0> @7GA sets the frequenc# under !hich the reverberation is attenuated$
6i)'> @7GA sets the frequenc# over !hich the reverberation is attenuated$ Jo! and 7igh
parameters can be used to t!eak the frequenc# response of the reverb$
23
5.. * )I/I Im!lementation
Some of the :82;28:Bs parameters can be controlled b# an e?ternal M"9" source$ .or e?ample<
#ou can use an hard!are M"9" controller to operate :82;28:Bs sliders and t!eak its main
parameters in real time or to record parametersB automation in a friendlier !a#$
'he "n Jevel< 9r# Jevel< Cet Jevel and the si? faders of the Advanced mode are all M"9"
controllable$ :# chancing the parameters association of the sliders #ouBll be able to control ever#
single parameter of :82;28: @up to a ma?imum of , at the same timeAI
'he M"9" association is described in the follo!ing table>
++ n,mber BREVERB *arameter
-0 "n Jevel
-& 9r# Jevel
-* .irst Slider
-- Second Slider
-% 'hird Slider
-1 .ourth Slider
-4 .ifth Slider
-6 Si?th Slider
,& Cet Jevel
24

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Overloud BREVERB - User Manual US

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