Reverb Introduction
The TC Reverb Palette
Until 10 years ago, digital reverb was mostly used as a Generic effect applied to many sources of a mix. Nowadays, where more aux send and returns are at disposal, new approaches have emerged. Elements of the mix are being treated individually, adding room character, flavor and depth in more creative and complex ways.
At TC, we call this a Source based approach, and we have put more than 30 man-years of development time into design and refinement of Source based room simulation.
When Generic digital reverbs were invented, they stretched the DSP power and memory bandwidth capabilities of their time; and Source specific processing was completely out of the question. Even though we may now consider Generic types to be less than ideal, they still have applications for which they may be chosen instead of their Source based cousins.
The large reverb and room simulation palette of High-end reverbs by TC Electronic allows the user to choose whatever principle suits the present need.
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Generic Reverb
Generic reverb is primarily a flattering sustain effect which can be added to many sources of a mix, or a complete stereo or multichannel 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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Source Reverb
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 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. For best results, if a microphone already picks up some reflections, they should be excluded from the simulated pattern by using the appropriate reflection decrease control. 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
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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Reverbs & Effects
NonLin-2
 NonLin is an Effect Reverb with controllable Envelope, Attack, Hold and Release.
It is capable of generating compact Vocal Ambience, dramatic eighties drum and percussion sounds, Reverse Reverb or completely new and twisted effects. NonLin also does classic Gated Reverb, but because it doesn’t need to be triggered, it can be used on all sorts of program material.
Compared to Effect Reverbs from the past, NonLin features longer and more diffused response with a higher resolution, but classic, low density processing is also available.
NonLin also features a Twist parameter, which radically alters the sound, sometimes in weird ways. Adding Twist may not always be pretty, but the parameter truly is a new spice included to spark imagination and storytelling, and it can be used to add character to any source of a mix. |
I/O
INPUT SELECT
Input Source
Select between Analog and Digital.
Digital Source
When Input Source is set to Digital you can select between:Select according to the connected Digital Input source.
Input Channels
Stereo:
Stereo signal is processed.
Left:
Only the signal present on the Left Input is processed.
Right:
Only the signal present on the Right Input is processed.
DIGITAL OUTPUT
Dither
Range: 8, 12, 14, 16, 18, 20, 22, 24, off Reverb 4000 processes internally at 24-bit resolution. Dither must be set to match downstream devices.
Status Bits
Select whether the Reverb 4000 should send out AES/EBU or S/PDIF status bit information. |
VSS-4
 VSS™4 is a genuinely new Stereo Reverb that radically departs from blurry sustain concepts of the past. Based on source related reflections from multiple angles, the precision of VSS™4 is comparable to real-world mono or stereo sources positioned in an authentic space.
VSS™4 is a first choice for spot and close microphone pick-ups as well as synthetic sources. It is not only capable of adding spaciousness, but also distinctive character, localization and depth to the source. If the reflection patterns are too immense for a particular situation, they can be tailored to precisely complement the material processed.
Important for mastering purposes, VSS™4 features full 24-bit transparency, and the wet output is de-correlated the same way a good recording of a natural room would be. Therefore, the wet/dry balance is not upset when listening in mono.
Dependent on plenty of RAM and a fast infrastructure, VSS™4 is only available with Reverb 4000 and Reverb 6000 and not as a DAW plug-in or in other TC processors. |
VSS-3
 The VSS™3 Source Reverb was designed for a variety of applications ranging from music and post production to film production. The objective is a "true-to-life" sound enabling the user to mimic environments. To establish convincing room-types the Early Reflections must be carefully reproduced. Are the surfaces hard or soft, is the room furnished or unfurnished, is it a small or big car?
VSS™3 features full 24-bit transparency, important for mastering purposes, and the wet output is de-correlated the same way a good recording of a natural room would be. Therefore, the wet/dry balance is maintained when listening in mono.
VSS™3 is available only with M3000, Reverb 4000 and Reverb 6000 and not as a DAW plug-in or in other TC processors. |
VSS-4 TS
 For film work, multiple mono reverbs may often be more useful than pre-configured structures for stereo, 5.1, 6.1 etc. The VSS™4 TS algorithm offers 2 discrete mono reverbs that can be used completely independently.
VSS™4 TS reverbs can be used in multiple mono configurations, where the effect has to end up in predictable places, or combined to cover arbitrary multichannel configurations. Reverb responses may be correlated or de-correlated as chosen by the user. |
Reverb-4
 Reverb-4 is a new stereo in, stereo out algorithm making its debut with the Reverb 4000. This is a 2003 version of a Generic Reverb, suited for composite material and main microphone processing. It adds spaciousness rather than localization to the audio image.
Important for mastering purposes, Reverb-4 features full 24-bit transparency, and the wet output is de-correlated the same way a good recording of a natural room would be. Therefore, the wet/dry balance is maintained when listening in mono.
Reverb-4 will also be available to Reverb 6000 users, but not on other TC platforms or in DAW plug-ins. |
Ambiator
 Ambiator is a new small space modeler with integrated panning of a source. Try it when you grow tired of power panning or just need to add that subtle sense of ambience bringing life and character to certain elements of a mix.
Ambiator will also be available to Reverb 6000 users, but not on other TC platforms or in DAW plug-ins. |
DVR-2
 DVR-2 offers a pristine Generic Reverb with true vintage flavor. Generic Reverb is complementary to Source Reverb, and both types are at disposal in the Reverb 4000.
You can read more about Generic Reverb in the Reverb Introduction and Generic Reverb sections, but the term is used to describe a flattering sustain effect, which can be added to many sources of a mix. It produces little character but also does no harm, because the effect is blurred or washed out. Instead, it adds a good sense of spaciousness and more or less pronounced modulation.
The development of DVR-2 has been a lengthy process, spanning several years, with the goal of recreating the most shining Generic Reverb of all times, the EMT250. A particularly well sounding machine was refurbished, and in the making of DVR-2, many design disciplines were involved. |
Midi Map
 This is a “MIDI Custom Program Map page”, where you can customize how the Reverb 4000 should map incoming program changes.
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In the Tech Library you will find Papers and Articles about Audio Fidelity and Processing published by TC Developers and other Industry Professionals.
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