Sonnox Oxford Reverb User Manual
Page 11
5.2 Reverb Tail Setup
5 REALISTIC ROOM SIMULATION
5.2.2 Suggested Setup for the Reverb Tail
Set the ER MIX fader to its DRY position, the TAIL INPUT fader to its DLY INP position,
and the COMP DELAY fader to its mid position. This ensures that the input drive to the tail
section is the compensated version of the input signal. This is a good starting point as it
is the character of the input that we need to address first.
Set the REVERB MIX fader to its central position so that you hear an equal contribution
from the Early Reflection and Reverb Tail signals. This is useful because we are initially
concerned with making the overall Reverb Tail match the timing requirements of the early
reflection sound you have already made.
Set the OVERALL SIZE, DISPERSION and PHASE DIFF faders to their mid position. Set
the PHASE MOD and ABSORPTION faders to their minimum position and DIVERSITY to
its maximum position. This sets up a neutral starting point where the effect of controls will
be most easily heard when we get to adjust them.
By increasing the REVERB TIME, the tail can be heard to extend to the period set on the
control. Set this to something that matches the sound you are aiming for. At the moment
the tail will sound rather grainy, and its stereo image will be largely in the centre of the
sound field.
Moving the DISPERSION fader in a positive direction will result in increased complexity
and smoothness in the longer term. The higher the setting, the faster the complexity
builds over time. Set this somewhere that provides the required effect, bearing in mind
that real reverberant spaces take a period of time to build complexity, especially if they
are large and reflective.
Adjust the PHASE DIFF control and note that the tail image begins to spread across the
stereo field. The higher the setting the quicker the spread will occur over time. Generally
speaking, large settings are better in mix situations because they produce a wide sound
field quickly. However, for very large spaces or sound effects, a slower spread from
middle to sides can often produce a more realistic effect. The included setup ‘far away’ is
a good illustration of this. It is also worth experimenting with negative PHASE DIFF
settings, noting that the spatial effects build into far wider and more diverse stereo sound
fields. Negative settings are often more effective when you are aiming for greater
perceived immersion within the simulated space.
Increasing the PHASE MOD control will provide a degree of variance for the above
settings (as though you were moving the PHASE DIFF control slowly). This provides a
larger degree of realism to the Reverb Tail because it prevents it from becoming spatially