TC Electronic G-System - Manual (Page 74)

EFFECTS – REVERB
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Common Reverb Parameters
Decay
Range: 0.1 to 20 seconds
The Decay parameter determines the length of the
Reverb Diffuse Field. The length is defined as the time it
takes for the Diffuse Field to decay approximately by
60dB.
PreDly – Pre Delay
Range: 0 to 100ms
This parameter defines a short Delay placed between the
direct signal and the Reverb Diffuse field. Use Pre Delay
to keep the source material clear and undisturbed from
the more diffuse Reverb Diffuse Field arriving shortly
after.
Shape
Range: Round, Square or Curved
The shape of the simulated room is of great importance
to the reverb characteristics. Try the various shapes.
Size
Range: Small, Medium or Large
Though the Decay time can be altered from 0.1 to 20
seconds on all reverb types, selecting a predefined
(room) size may get you closer to the sound you desire.
To achieve a natural sounding emulation of a big room
with long decay, select “Large”. Use the Medium and
Small settings accordingly for simulations of smaller
rooms.
Again: Building the perfect guitar sound is not always
about doing the most obvious. You may find cool settings
by swimming against the stream.
Hi Col & Lo Col – (High Color/Low Color)
Hi Color range:
Wool, Warm, Real, Clear, Bright, Crisp and Glass.
Lo Color range:
Thick, Round, Real, Light, Tight, Thin, NoBass
These parameters give you six variations of the reverb’s
Reverb Types
The G-System features four different Reverb classics. All
types have the same editable parameters, but the
reverbs’ characteristics vary.
Spring
The Spring algorithm is designed to reproduce the sound
of old spring reverbs, such as the ones used in vintage
guitar amps.
Hall
The Hall algorithm simulates a rather large hall and
preserves the natural characteristics of the source
material. Excellent when you strive for a discrete Reverb
with medium to long Decay times.
Room
The Living Room type simulates a relatively small, well
furnished room. In such a room, many reflections are
absorbed by soft materials, and the source signal is
reflected and sustained mainly from the walls.
Plate
Before the digital era, either reverberating springs or
large metallic plates were used to create reverb effects.
Plate reverbs sound diffuse and bright. They can be used
to make the processed signal “stand out”, rather than
blend naturally.
These brief introductions should only give you a hint in
terms of choosing the right one for a given application.
Take some time to listen to the different types,
experiment and don’t be afraid to be innovative!