Generic reverb is primarily a flattering sustain effect which can be added to many sources of a mix, or a complete stereo or multi-channel stem. It adds little character but also does no harm, because the effect is blurred or washed out.

If early reflections are offered, there are only few of them and they play a rudimentary role. Therefore, a strong localization is not imposed on the signal, which is what you want when one reverb is used on many sources.
For a graphical artist, the equivalent tool to Generic reverb would be a paintbrush.

Generic Reverb Pros

• 1st choice for composite, mixed material and stems
• 1st choice when used with multichannel joystick on console or DAW
• 1st choice for adding to classical main microphone pick-up
• Works well on moving sources
• Prettier than life
• Quick and easy to use

Generic Reverb Cons

• Blurring takes away character from individual sources
• Pitch modulation may be a problem with some material
• Mono compatibility often compromised to obtain extra width
• Imaging inferior to Source based reverb

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When elements of a mix are picked up individually, a chance exists to define exactly how each of them is to be heard. There is no reason to apply one Generic reverb to several single sources, unless they are supposed to present an identical position to the final listener, or if you have run out of aux sends.

When it is desirable to distinguish between single elements sharing more or less the same panning position, source based reverb should be a first choice. Subtle discrimination between reflection patterns of individual sources can make all the difference in the world when it comes to obtaining depth, expression and natural imaging.

Source Reverbs are able to generate multiple, complex early reflection patterns. If a microphone already has picked up some reflections, the reflections should be excluded from the simulated pattern by using the appropriate reflection decrease control in order to get the best result. Instruments or sources can alternatively share the same reverb input in groups, e.g. stage left, center and right, for a more complex and desirable result than a Generic, one-send reverb approach. For a graphical artist, the equivalent tool to Source reverb would be a 3D rendering system or Virtual Studio.

Source Reverb Pros

• 1st choice when input sources can be separated
• 1st choice with spot microphones
• More depth and distinction obtainable in a mix
• Adds character and definition to a source
• For any format, but especially 5.1 and 6.1, localization and the size of the listening area may be improved compared to Generic Reverb types

Source Reverb Cons

• Require more sends or direct feeds than Generic Reverb types
• No advantage on composite signals
• Not ideal for moving sources

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Sampling reverbs present a variation of the Source theme: An impulse response is taken from an actual room based on a specific source and pick-up position. This "canned room" with frozen source, pick-up and speaker positioning, can later be applied to any signal.

From experiments we have found it difficult to translate a room feeling to speakers, due to compromises by nature built into the emission and pick-up process when capturing a room response. This is especially true with multichannel formats such as 5.1 and 6.1, where DSP in simulators can be used to optimize a virtual room for a specific speaker configuration.

Currently, no sampling reverbs are available on Reverb 6000.

Sampling Reverb Pros

• Sense of being "Organic" or “natural”
• Some properties of a natural room may be captured
• Different flavor to simulations
• Special Effect purposes

Sampling Reverb Cons

• Little editing possible. Editing often doesn’t sound right
• Difficult to capture sense of space as well as it may be simulated
• Only one fixed source position per Engine
• Chaotic and dynamic behavior of a real room or simulation is lost
• Lower dynamic range and bandwidth than VSS algorithms

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