Reverb block

The information on this page supplements the official manuals.

Reverb: supported by which Fractal Audio products?

• Axe-Fx II: yes.
• AX8: yes.
• FX8: yes.
• FAS-FX Reverb: yes.

FAS-FX Reverb

• The reverb effect is also available separately as a software plugin (AAX, AU, VST): FAS-FX Reverb.

Reverb types

• There are 7 base algorithms:
  • SPRING: simulates the physical spring reverb in a guitar amp.
  • ROOM: simulates natural realistic short reverb in a room.
  • CHAMBER: simulates natural reverb in a boxy chamber (bright, resonant reverb).
  • HALL: simulates natural long reverb in a concert hall. Similar to Room but a little less smooth and with some response peaks. Use this when you want your sound to stand out.
  • PLATE: simulates a vibrating reverb plate with a smooth sound.
  • STUDIO: models classic digital studio reverb units.
  • TUNNEL: simulates natural reverb in a tunnel (long, narrow space, great for special effects).
• The Reverb types (presets) are based on the algorithms. Some of the presets are modeled after famous reverb units. For example:
  • London Plate: probably based on the EMT 140 plate reverb.
  • Sun Plate: probably based on the plate reverb used on Sun Studio records.
  • North and South Church: inspired by the Bricasti. source

Reverb and X/Y switching

• The Reverb block in the Axe-Fx II, AX8 and FX8 supports X/Y-switching.

Reverb block position on the grid

• Put the Spring Reverb before the Amp block for authenticity.
• Cliff's comments:
  • "If there isn't distortion or modulation in the delay/reverb then the order is irrelevant since they are then Linear Time Invariant (or shift invariant in digital parlance). If there is a small amount of distortion or modulation then the order is probably still irrelevant. If there is a lot of distortion or modulation then the order may make a difference. However, typically the biggest difference, as noted above, is series vs. parallel since h1(t)*h2(t) is not the same as h1(t)+h2(t). If LTI h1*h2 = h2*h1. It may seem counter-intuitive that the order doesn't matter but try it and you'll be surprised." source
  • "Placing reverb after the Cab is the recommended routing. The reverb is stereo. The Cab block may be mono so you would lose the stereo field. Both blocks are linear so there is no advantage to placing reverb before the Cab." source
  • "For authentic spring reverb sound you want the reverb in front of the amp block. A big reason spring reverbs sound the way they do is that they get colored by the amp." source

Reverb tutorials

• Scott Peterson's reverb tutorial.
• Reverb Hold tutorial by Cooper Carter for G66.

Reverb spillover when switching presets

• See Spillover of delay/reverb trails.

Reverb time

• Maximum Reverb Time is 100 seconds.
• Cliff: "It requires a lot of calculations to change the Reverb time which is what Hold does (it increases it to a couple hours or something). If CPU use is high the calculations won't finish during one block which results in a click." source

Reverb quality

• There are two “Quality” options in the Reverb block: Normal and High. High quality uses significantly more CPU but provides world-class reverberation algorithms.

Reverb Ducking

• The Reverb block provides "ducking" parameters.

Reverb Hold

• When Hold is activated, the wet input to the block is muted and the Time is set to infinity. This can be used to achieve pad sounds and drone notes/chords.

Global Reverb adjustments

• The Rev Mix parameter (Hardware menu: Global) lets you increase or decrease the Reverb Mix level across all presets at once. Note that this may not work well with reverb blocks in parallel rows which have Mix at 100%.

Reverb unity gain

• When using Mix to control the volume level of the Reverb, the volume level of the dry signal is affected also. In other words, when increasing Reverb with Mix, the dry signal's level decreases. To deal with this: turn up Mix to 50% and set Level to +3dB and use Input Gain to set the desired amount of Reverb. Or put the Reverb in a parallel row, see Effects routing: series or parallel.

Simulating room ambience

• The CAB block has dedicated controls for adding room ambience to the sound.

Reverb stereo/mono capability

• Signals at the input of the Reverb block are summed. The Reverb's output is stereo. You can make it mono by setting Stereo Width to 0%.

Reverb parameters

• Early Diffusion: Thistsets the amount of diffusion in the early reflections. Higher values result in fuzzier and less distinct echoes. Lower values result in sharp, distinct reflections.
• Early Diff Time: this scales the delay time of the early reflections diffusers. Adjust this control to suit the size and character of the simulated environment.
• Early Decay: this controls the decay rate of the early reflections. Higher values yield faster decay.
• The reverb tail is automatically set to the appropriate delay. In High Quality mode an additional parameter is available: Late Input Mix. This parameter controls the mix between the (possibly diffused) input and the early reflections data input to the late reverb algorithm. Thus this parameter mixes the output of the diffuser and the early reflections prior to inputting that data to the late reverb generator. With the Late Input Mix at 0% the High Quality mode is identical to the Normal Quality mode. Values greater than 0% mix early reflections data into the late reverb using a proprietary decorrelation technique which eliminates any metallic qualities associated with the typical diffuser techniques used in other products.

Reverb EQ

• Cliff: "The reverb tail is divided into three bands. The low-frequency band is defined by LF Xover and LF Time. LF Xover sets the crossover frequency between the low and mid bands. LF Time controls the decay time of the low band relative to the mid band. So if LF Time is 2.0 the low-frequency decay time will be twice as long as the mid-band time. You may be able to use this to reduce low-frequency buildup. High-frequency decay time works a bit differently. There is a single HF Time parameter. It controls the high-frequency absorption of the virtual room. The lower the value the faster the high frequencies decay relative to mid-band. A value of 1.0 means no high-frequency absorption. The EQ page then controls equalization of the resulting tail. You can further shape the sound of the reverb using this, if desired. Real rooms tend to have a slightly longer low-frequency decay and a shorter high-frequency decay. However if you're using LOTS of simulated reverb within a real reverberant environment then you can get low-frequency buildup. The tips above should help you adjust to the environment." source

Gated Reverb

• How to create a gated reverb.

More Reverb information

• Cliff's comments:
  • "David Griesinger probably knows more about reverb than everyone else combined. He's the father of the Lexicon reverbs. According to him, and I have no reason to doubt him, real reverb (i.e. reverb from a real space) is actually inferior to synthetic reverb. This is due to human perception. Real reverb (and by extension convolution reverb) actually reduces intelligibility and clarity due to the particular nature of the decay, the decay being exponential. Synthetic reverb allows one to craft the decay curve thereby rendering improved clarity. If the decay curve is flat for a period and then exponential it doesn't clutter the desired program material. The new reverb algorithms in the Axe-Fx are based on his theories." source
  • "The reverb block in the Axe-Fx is very powerful. Turn the Early Level up and the Late Level down and you can hear the different "spaces". There's a variety of room shapes from almost square to long and narrow along with plates and springs. The Size parameter allows you to scale the dimensions." source
• Reverb in Wikipedia.
• Legacy thread providing great info for tweaking the Pre-delay parameter and creating ambience, sitting in a mix. Note: "tail delay" is also discussed but this isn't a parameter in current releases.