the User Manual
Contents
1. default association Restore Default Associations will revert the faders back to their initial association settings 14 Overloud BREVERB User Manual US 5 Parameters In order to use all the functionality of BREVERB we warmly recommend to read this chapter and learn all of its features Among the parameters there is a group of them that is common to every algorithm we will describe them just once at the beginning They are grouped into two different families of parameters one of which is also characterized by an enable disable switch at the right corner of the title tab 5 1 The Master section In Level dB Determines the global input level of the plugin its action is prior to the input level meter Dry Level dB Determines the level of the direct unprocessed sound it is typically set to co when the reverb is used on an auxiliary bus When used in an insert gradually lowering this parameter can give the idea of a more distant sound Wet Level dB Determines the amount of the reverberation in the output stage Dry L Pan Sets the pan position of the left input channel fed into the final mix Dry R Pan Sets the pan position of the right input channel fed into the final mix In combination with the previous parameter it can be used to control the stereo width of the dry signal For example the Dry can be made mono by setting both these two parameters to the mid position the stereo image can be inverted2. 34 Third Slider 35 Fourth Slider 36 Fifth Slider 37 Sixth Slider 91 Wet Level 25 Overloud BREVERB User Manual US 6 Standalone mode operation Starting BREVERB vers 1 5 0 a Standalone mode is available Operation is 100 identical to plugin host but for the settings button which can be reached on the upper left side of the GUI We ll look at the Audio settings menu voice Audio Settings audio device sample rate audio buffer size active midi inputs no midi inputs available Pict 11 The Standalone mode Audio Settings window Audio Device please choose your favourite audio hardware from this list BREVERB supports CoreAudio ASIO and Windows standards ASIO drivers are the best choice most of the times Sample Rate Hz sets the desired sample rate 44100 is warmly recommended for live usage Audio Buffer Size samples and ms sets the amount of latency the audio hardware will have Please set it as low as allowed by your audio hardware without causing glitches or freezes to your computer Low latency is extremely important for live usage Active Midi Inputs if available Midi hardware connected to the computer will be shown here where can be activated Midi control in BREVERB serves mainly for the live control of the main and fader assigned parameters see Section 5 9 26
3. A to B B to A this is another dual state button serving as a helper for the A B one Clicking on it while in the A state of the plugin of the above mentioned button will copy the A settings to B The opposite happens when B is active This is the solution if you need to slightly tweak an already rather good preset and to make comparisons in your mix with the former settings Undo and Redo these two buttons control the undo history letting you revert back or forward to a previous plugin parameter change you might have made 12 Overloud BREVERB User Manual US Preferences Panel BREVERB Preferences Presets SHOW FACTORY PRESETS Set master controls at preset loading BD with user presets In separate folder Sliders save slider associations SENSITIVITY Restore default associations o i CLOSE Pict 9 The Preferences Panel Clicking on the square button in the upper left corner of BREVERB as shown in Picture 6 will dim the main display and show the Preferences Panel in its place Let s its features Set master controls at preset loading when unselected loading a specific preset will not have an effect on the current settings of the Master Control section Dry Wet pan etc When selected loading a preset will also load the said Master Control section This preference lets you operate BreverbPE in two different ways in the old fashioned way where levels and pa
4. Sec The Release parameter sets the time it takes for the Gate to close completely Hold Sec The Hold parameter sets the amount of time the gate will remain opened not active regardless of the input level and the threshold setting Shape Linear or Sigma The Shape parameter allows you to shape the attenuation curve you can choose between linear and sigma Slope If the Shape parameter is set to Sigma the Slope parameter will control the exact shape of the S higher values mean a steeper curve Note Release and Hold can be sync ed to the host BPM 17 Overloud BREVERB User Manual US 0 4 The Dynamic section This section features a set of controls which allow the modulation of some of BREVERB s most important parameters via the input level To To To Level controls the degree of influence the level of the signal present at BREVERB s inputs will have on the Wet output level Positive values will raise the Wet level when the input level raises negative values will lower the Wet level when the input level raises and viceversa Time controls the degree of influence the level of the signal present at BREVERB s inputs will have on the Reverb Time parameter Positive values will raise the Reverb Time when the input level raises negative values will lower the Reverb Time when the input level raises and viceversa EQ controls the degree of influence the level of the signal present at
5. BREVERB s inputs will have on the overall colour of BREVERB Positive values will raise the Wet level when the input level raises negative values will lower the Wet level when the input level raises and viceversa The To EQ control doesn t influence any of the other EQ parameters in the GUI instead it uses a hidden first order hi shelving filter with a very soft action 18 Overloud BREVERB User Manual US 5 5 Hall Reverb General Time Sec TIME sets the duration of the reverberation tail It s also influenced by the SIZE parameter Size sets the rate of build up diffusion after the initial period which is controlled by the DIFFUSION parameter It also acts as a master control for TIME and SPREAD Despite its name the apparent size of the space created is actually a combination of the settings of the SIZE SHAPE and SPREAD controls Diffusion controls the degree to which the initial echo density increases over time Shape it works together with the SPREAD parameter to control the overall ambience of the reverberation created by BREVERB It specifically determines the contour of the reverberation envelope With SHAPE all the way down reverberation builds explosively and decays very quickly As SHAPE value is raised reverberation builds up more slowly and sustains for the time set by SPREAD Spread controls the duration of the initial contour of the reverberation envelope Low SPREAD setting result in a
6. by setting the Dry L Pan to right and the Dry R Pan to left Wet L Pan Sets the pan position of the left reverberated channel fed into the final mix Wet R Pan Sets the pan position of the right reverberated channel fed into the final mix In combination with the previous parameter it can be used to control the stereo width of the reverb For example the Wet channel can be made mono by setting both these two parameters to the mid position or the reverb stereo image can be inverted by setting the Wet L Pan to the far right and the Wet R Pan to the far left 15 Overloud BREVERB User Manual US 5 2 The EQ section This section features a fully parametric two band equalizer It lets you set the Gain Frequency and Q factor of each band letting you shape your sound as you like Clicking on the square led located in the right corner of the title tab switched the EQ on and off this is an useful feature to compare the effect with and without the EQ P1 Gain dB sets the Gain for band 1 P1 Freq Hz sets the center frequency for band 1 P1 Q 1 Oct Normally it sets the width of the bell shaped curve for band 1 but at its extreme settings will turn it into something completely different In fact setting this parameter to its minimum value CCW will transform the EQ into a Second Order Low Shelf while turning the parameter to its maximum value CW will transform the EQ into a High Pass Filter with a 12db oct slope the
7. channels in order to perfectly set the sound levels If we look at the lower part of the scheme and follow the signal chain we ll meet these modules Reverberation Unit this is the core of BREVERB it provides the main processing for the entire unit You can choose between four different reverberation algorithms which heavily modify the internal structure of this module as you can see from the different set of parameters at your disposal for each algorithm For an in depth description of the concepts behind reverberation algorithms and their functionality please head to the next chapter EQ this EQ Unit is a two band fully parametric equalizer Each band is allowed to span the entire audio spectrum and can be operated with the usual set of three parameters Gain dB Frequency Hz and Q factor While the first and the second parameters will set the amount and frequency of the process the Q factor is a little more complex in a common situation it will set the width of the EQ s bell shaped curve but at the extreme settings it will turn the EQ into a second order Shelf EQ high for band 1 or low for band 2 or a filter a high pass for band 1 and a low pass filter for band 2 Gate the Gate is a sophisticated switch that lets you mute the wet sound in different fashions according to its parameters As with any dynamic processing process it has gain detection mechanism which analyses the dry sound level The Gate can be very effective in get
8. music a sense of depth equivalent to the one naturally present when recording a performance in a real acoustic location Ideally ambience imparts warmth spaciousness and depth to a performance without colouring the direct sound at all Recent research has shown that this phenomenon depends most critically on the shape of the initial reverberation build up and decay Ambience is perceived and has a benefit while the music is running but once the reverberation has decayed about 15 dB from it s start level it is no longer audible in the presence of the direct sound So the time it takes for the sound to build up and decay 15 dB determines the perceived reverb time regardless of what the decay time to 60 dB commonly referred to as RT60 a way to measure reverb time of real and virtual acoustic spaces is Some very good halls for recording have a rather uneven initial build up and decay that gives a much longer effective reverb time than their RT60 reverb time might suggest It has become common practice to use predelay in an attempt to emulate the sound of these halls but the result always sounds unnatural In fact if we look carefully into echograms of real halls we can see that the sound builds up gradually while the use of predelay imparts a sharp attack to the reverb making it sound completely different BREVERB can manipulate the build up and decay of the initial part of the reverberation envelope in order to obtain a sound which is very natu
9. rapid onset of reverberation at the beginning of the envelope with little or no sustain while higher settings spread out both the build up and sustain Pre Predelay Sec sets the amount of time elapsing between the input signal and the onset of reverberation It can be used to create a sense of distance and volume within an acoustic space Regen L controls the amount of left channel input signal which is recirculated into the predelay delay line This parameter can be used to obtain a longer reverberation time with a more echoing tone Regen R same as Regen L but referred to the right channel Motion sets the speed of modulation of the delay lines Depth sets the amount of modulation of the delay lines in the reverb together with the Motion parameter it can be used to make the reverb tail sound more dynamic unpredictable rich and remove any eventual resonance or metallic ringing Motion and Depth should be used carefully on solo instruments like pianos woodwinds or saxophones to avoid chorusing effects They can be used more with aggressive settings on percussive tones guitars and mixes Note Predelay can be sync ed to the Host BPM 19 Overloud BREVERB User Manual US Frequency The parameters in this section control the colour of the reverberation tail and its duration for different bands of frequencies In particular it is possible to set the reverberation time of the low and high frequencies as a mul
10. right channel views two faders one controlling the Dry Sound and the other the Wet Sound and two split horizontal sliders that control the pan pot Like the input section under the fader there are the displays showing the numerical values of the dry and wet levels the range is the same as for the IN fader The pan sliders are split into left the upper slider and right the lower one channels and can be operated with the mouse Right under the OUT meter there is a peak indicator for the output level this value can be reset by clicking on it Overloud BREVERB User Manual US 4 2 The Knob Section GENERAL PRE FREQ EQ DIFFUSION SHAPE 600 60 5090 Ean k rereh nhap Maai Pict 3 The knob section In the lower section of the plugin you ll find six knobs and six zones with labels and relative values associated to the knob underneath For a complete list of parameters grouped under algorithm s type see the Appendix This section is organized in pages in BREVERB and you can shift from a page to another with a click on its title tab The EQ and the GATE tabs also feature a switch activating or bypassing the whole section EQ the EQ section is a fully parametric two band equalizer that lets you set for every band the Gain in dB the Frequency in Hz and the Q factor of the signals Once you ve set it up you can enable or disabled it even while you re on the General page by clicking on the led Pict 4 EQ enabled
11. AUDIO TOOLS Overloud BREVEREB vers 1 5 0 User Manual US reverberation plugin All rights reserved Overloud is a trademark of Almateg srl All Specifications subject to change without notice Made In Italy e www breverb com Overloud BREVERB User Manual US Table of Contents 1 Introduction 3 2 Schematics 4 3 Behind the Curtain 5 4 BREVERB Graphic Interface T A Wea Ag see Ou A ean A EA A 8 42 Tne KOD SECOM eaaa a a AR 9 AEF AA VION a aa a A A T A 10 4 4 The Central Menu and its COMMANGCS ccccececececececccececaeecacaeaeaeeaveeeeevataeaeaeevanatetanenanes 11 5 Parameters 15 Os WMS Master Seci ON Masesearetsinen a E A AEE bea beet eee 15 2s PING HO SE CEO Mic sects taco cusd hele as E oer race ec ed oe eis aco eee penta toed E EE 16 5 3 The Gate S SCHON igecssc heccnetemssen han tzdexienccwerduciadewexactoneseidsusledectcee aan txdecdtsiounsencanvicsvaebuseodu edoereeeask 17 OF WMG Dynami SCCUO Massoud cousvets teens E E EEE 18 SSH WO VEGI act cette tree ae ee etree teh ae en cd eek fc a AA i 19 SO ROOM REVO Deana cis caper sweets cect ce erect eyes Be cede ess eters a A 21 OS REVO aeran a ese beh eae tacit ee catenin icitae tia eect aaa eai 22 BO IV STS Rove Diena et tae ete cheno canine A tenes leace rece a aceenue denextanieantan 24 SO MDL POE ni Pika OM saaceiacoicataautedersameeaw naw auaimorcsuadaunadsvanaanniaavaumnaat a r 25 6 Standalone mode operation 26 Overloud BREVERB User Man
12. P1 Gain parameter will not have any effect in this case P2 Gain dB sets the Gain for band 2 P2 Freq Hz sets the center frequency for band 2 P2 Q 1 Oct Normally it sets the width of the bell shaped curve for band 2 but at its extreme settings will turn it into something completely different In fact setting this parameter to its minimum value CCW will transform the EQ into a Second Order High Shelf while turning the parameter to its maximum value CW will transform the EQ into a Low Pass Filter with a 12db oct slope the P1 Gain parameter will not have any effect in this case 16 Overloud BREVERB User Manual US 5 3 The Gate section The Gate is a sophisticated switch that lets you mute the wet sound according to its parameters settings As all other dynamics based effects it has a level detection unit set to respond to the dry input level Just like the Master EQ control The Gate can be switched on and off by clicking on the little square led located in the upper right corner of its title tab Threshold dB The Threshold parameter allows you to set the level limit in dB when the level goes under this threshold the gate is activated An automatic re open threshold is also featured BREVEREB sets it automatically after an analysis of the incoming signal content Attack Sec The Attack parameter sets the time needed by the gate to switch from closed active to opened not active Release
13. al buttons that refer to the plugin s file and editing management Load having selected a preset in the preset menu on its right click on this button to load that preset The same action can be obtained with a double click on the preset name in the preset menu Save after having tweaked something on a preset click this button to save the changes If you created a new preset starting from the default settings you get when opening the plugin then clicking this button will trigger the same function as the Save As button Save As if you want to save a modified preset with another name then this button is for you Delete as the name suggest clicking this button has the effect of deleting the preset selected in the preset menu on its right IMPORTANT not the loaded preset A B this is a dual state button it can be used to store and manage two different settings that you may want to compare For example after setting up the plugin in order to obtain a specific result you might want to experiment with a different setting while keeping the one you ve just been working on Clicking on the A button will turn the button to show a B activating the relative settings You then tweak the settings in order to find the alternative result Once you ve done with the B settings clicking on the B button switches between the A and B states and settings letting you quickly compare the two sounds
14. and Gate square on the right of the EQ title tab disabled GATE the GATE section is a sophisticated switch that mutes the processed sound according to the settings of its parameters See the Appendix for a full descriptions of them Just like the Master EQ once it s set up you can switch it on or off as you like while setting other parameters Overloud BREVERB User Manual US 4 3 The Fader View LOW FREQ HIGH HIGH FREQ DAMPING LOW CUT 120Hz 1 00 4000Hz 3500Hz 120Hz Tmn eet bapi ee WET TIME LOW HbGH DIFFUSION 0 0dB 1 805 1 00 1 00 60 Pict 5 The fader panel and the drag amp drop assignation of parameters to the faders On the upper right corner of the plugin you can see three small buttons see Pict 6a They control the switch between the Compact and the Fader view interface modes Clicking on the topmost one the Fader view interface mode is activated which sports an expanded long throw fader panel on the right of the main interface Clicking on the and buttons you can add and remove one additional fader at a time You can have a maximum of 6 faders opened Clicking again on the topmost button you switch BREVERB back to the Basic interface view On the lower right corner of the plugin you can find another button see Pict 6b which activates and deactivated the Advanced mode showing the additional faders in the bottom of the plugin 7 l Pict 6a Right side Pict 6b Bottom s
15. creases over time Predelay Sec sets the amount of time elapsing between the input signal and the onset of reverberation Motion sets the speed of modulation of the delay lines Depth sets the amount of modulation of the delay lines in the reverb together with the Motion parameter it can be used to make the reverb sound more dynamic unpredicatable rich and remove any eventual resonance or metallic ringing Note Predelay can be sync ed to the Host BPM Frequency Low Hz sets the frequency under which the reverberation is attenuated High Hz sets the frequency over which the reverberation is attenuated Low and High parameters can be used to tweak the frequency response of the reverb 24 Overloud BREVERB User Manual US 5 9 MIDI Implementation Some of the BREVERB s parameters can be controlled by an external MIDI source For example you can use an hardware MIDI controller to operate BREVERB s sliders and tweak its main parameters in real time or to record parameters automation in a friendlier way The In Level Dry Level Wet Level and the six faders of the Fader View mode are all MIDI controllable By chancing the parameters association of the sliders you ll be able to control every single parameter of BREVERB up to a maximum of 9 at the same time The MIDI association is described in the following table CC number BREVERB parameter 30 In Level 31 Dry Level 32 First Slider 33 second Slider
16. e sets the apparent size of the acoustic space being emulated by the algorithm Values from minimum to half way up are typical when simulating the ambience of a recording studio Diffusion controls the degree to which the initial echo density increases over time Decay balances between the late reverberation and the early reflections When the Decay is at minimum only the early reflections are present when increasing it the late reverberation is gradually added Mod Predelay Sec sets the amount of time elapsing between the input signal and the onset of reverberation It can be used to create a sense of distance and volume within an acoustic space Motion sets the speed of modulation of the delay lines Depth sets the amount of modulation of the delay lines in the reverb together with the Motion parameter it can be used for making a reverb sound more dynamic rich and to remove any eventual resonance or metallic ringing Motion and Depth should be used carefully on solo instruments like pianos woodwinds or saxophones to avoid chorusing effects They can be used more with aggressive settings on percussive tones guitars and mixes Note Predelay can be sync ed to the Host BPM Frequency Low Hz sets the frequency under which the reverberation is attenuated High Hz sets the frequency over which the reverberation is attenuated Low and High parameters can be used to tweak the frequency response of a room Damping real
17. e holds all parameters for all algorithms this is helpful if you need to recall settings from another algorithm you were working on at any time or if you happen to mistakenly switch algorithm The preset list beneath the algorithm selector there s a box featuring the name of the loaded preset a tiny round button to the right of it and a list of folders for the presets Two small arrows in the left part of the box lets you to change the selected preset up and down in the list Dj this is useful when you want to scan the sound of different presets The list can be scrolled up and down with the scroll bar or with the mouse wheel and features folders named after the algorithms which hold the relative algorithm s presets The Pict 8 folders are marked by a small triangle pointing to the right the modified preset indicator clicking on it gives you access to the folder s content which will be shown right under its name Clicking a second time on the triangle now pointing downward makes the folder view collapse Double clicking a preset name or selecting it and hitting the Load button will load it The small round button alongside the loaded preset field is merely and indicator advising you the the loaded presets was changed since it was loaded thus requiring a save command if you wish to have it updated in the preset list 11 Overloud BREVERB User Manual US Command buttons on the left of the preset menus you can see sever
18. environments tend to attenuate the high frequencies due to the damping factors of the materials the walls are made of or of the objects in the room which mostly absorb high frequencies The Damping parameter controls the amount of this absorption and can be used to simulate different types of room padding 21 Overloud BREVERB User Manual US 5 7 Plate Reverb General Time Sec TIME sets the duration of the reverberation tail It s also influenced by the SIZE parameter Size sets the apparent size of the plate emulated by the algorithm Diffusion it controls the degree to which the initial echo density increases over time Shape it determines the contour of the reverberation envelope With SHAPE all the way down reverberation builds explosively and decays very quickly As SHAPE is raised reverberation builds up more gradually and sustains longer Motion sets the speed of modulation of the delay lines It can be used for for making a reverb sound more dynamic rich and remove any eventual resonance or metallic ringing Pre Predelay Sec sets the amount of time elapsing between the input signal and the onset of reverberation It can be used to create a sense of distance and volume within an acoustic space Motion sets the speed of modulation of the delay lines Regen controls the amount of input signal which is recirculated into the predelay delay line This parameter can be used to obtain a longer reverb
19. eration time with a more echoing tone Note Predelay can be sync ed to the Host BPM Frequency 22 Overloud BREVERB User Manual US Low Sets the reverberation time of the low frequencies relative to the master reverberation time It is expressed as a time multiplier For example setting Low to 1 8x means that the reverberation time of the low frequencies if 1 8 times longer than the master reverberation time Low Freq Hz sets the crossover frequency which defines the low frequencies High Sets the reverberation time of the high frequencies relative to the master reverberation time It is expressed as a time multiplier For example setting High to 0 6x means that the reverberation time of the high frequencies if 0 6 times shorter than the master reverberation time High Freq Hz sets the crossover frequency which defines the high frequencies Damping depending on the age and material of the plate in the reverb unit the tail will be gradually attenuated in the high frequencies The Damping parameter controls the amount of this attenuation and can be used to simulate different kinds of plates 23 Overloud BREVERB User Manual US 5 8 Inverse Reverb General Time Sec sets the duration of the reverberation This time added to the Predelay time is the time that elapses from the direct sound to the end of the reverberation process Diffusion controls the degree to which the initial echo density in
20. ide The additional faders are freely assignable and totally user Compact and Fader Compact and Fader programmable by dragging and dropping a specific parameter on view modes switching view modes switching them buttons button Mapping any parameter to a knob is very easy Just right click or Ctrl click on any parameter knob or name on any of the plugin pages and drag and drop the parameter on the chosen fader This solution will make your most sought after parameters at immediate disposal for modifications The mapping is saved with the preset or you can make your own preset mapping for each algorithm in the Preferences Panel 10 Overloud BREVERB User Manual US 4 4 The Central Menu and its Commands F HALL F INVERSE PLATE ROOM t Factory Pict 7 The Central Menu The central area of the plugin is the home to the main menus and buttons In the section at the right of this area you will find the algorithm selector and the presets menu while in the section at the left is where you will operate the buttons controlling the Load Save Save As Delete A B A gt B B gt A Undo and Redo functions The algorithm selector clicking on the combo selector in the upper position lets you choose among the two algorithms at your disposal in BreverbPE Clicking on any of the two will activate the default settings for the selected algorithm if you never loaded that algorithm before for that preset BreverbPE s preset structur
21. nob or on the relative display and dragging it so as to operate the knob clicking on the display and typing the new value on your keyboard in order to set the infinity value on the Level Fader you can type a value that is lower than 100 or else you can type the string o0 with two o In order to get a better control you will see that click and dragging the mouse quicker will make parameters changes happen faster The mouse sensitivity to speed changes can be set in the Preferences Panel Overloud BREVERB User Manual US 4 1 The Sound Chain LL LLL l i I ba RTT mL in bo Pict 2 The sound chain The sound chain is composed of the IN and OUT faders and meters The IN meter located on the left of the plugin window displays the input level for the left and right channels independently while the IN fader lets you set that level At the end of the fader there is a display showing the numerical value measured in dB of the input level chosen the range span from to 12 dB Right under the meter there is a value showing the peak level reached by the input signal When you open up the plugin the value shown is the lowest possible 96dB but as soon as an input is present this value will change according to the input If you want you can reset the value by clicking on it The OUT section is a little more complex it is made up of a level meter split into left and
22. npots are always the same when switching preset and the alternative way which lets you save and load presets with specific levels and panpots IE a stereo input reverb with a mono output panpotted all the way to the right Show factory preset this preference controls where the Factory preset will be shown in the preset menu When the With user presets checkbox is selected the Factory presets will be shown together with the User presets When the In a separate folder checkbox is selected the Factory presets will be shown in a separate folder This preference lets you choose the preferred way of browsing the presets either all Factory or all User presets at once or both of them together PLATE RODOM Factory HALL Y Factory B s Percussion Space A Cappella Vox AcousticGtr Venue H HALL H INVERSE PLATE Pict 10 In a separate folder is selected on the left With user presets on the right Sensitivity it controls the sensitivity of the mouse when used to operate a knob or a fader When set to a value different from 0 the faster you move the mouse the faster the parameter will change Save slider associations when active once you ve set up the parameters to be controlled by the long faders in Fader View mode these settings will be remembered by BREVERB When you open up the plugin it checkes if the feature is set and if it isn t it will load the 13 Overloud BREVERB User Manual US
23. r creativity Two families of algorithm match this class of sound plate and inverse Each one of them is different the first one is a plate reverb simulation inspired by vintage hardware that can faithfully recreate the thick sonic character and also the unusual effects that were typical of vintage hardware units The second one is a completely new and creative kind of effect that take the impulse response and flips it over giving you a brand new sound Overloud BREVERB User Manual US 4 BREVERB Graphic Interface BREVERE aE H HALL H INVERSE H PLATE E ROOM TE iS S T LL a Lo PRE FREQ DYNAMIC EQ GATE DIFFUSION SHAPE SPREAD 60 50 50 0 oe Pict 1 BREVERB s Compact Interface When you open BREVERB s interface after you successfully authorized it you face the front panel which is made up of several parts each one of them has its own particular function At first sight you ll see the In and Out level which form the sound chain a central menu which include several fundamental commands and the solution we adopted to select algorithms and presets plus a series of knobs that can set the parameters being shown in the boxes right above each of them On the top left corner of the plugin you can click on the button to open the manual and clock on the circular button to open the credit window Please note that you can set every parameter s value in different ways clicking on the k
24. ral but at the same time very adjustable The primary controls allowing you to modify this initial part of the envelope are SHAPE SPREAD and SIZE While SHAPE controls the shape of the reverberation envelope SPREAD and SIZE set the time over which this shape is active In other words SIZE acts as a master controls for the apparent size of the space being created by BREVERB once it is set SPREAD and SHAPE are used to adjust the duration and shape of the initial reverb envelope which together provide the main sonic impression of a room s size When SHAPE is at minimum the initial part of the reverberation envelope builds up very quickly to a maximum amplitude and then dies away quickly at a smooth rate this envelope is characteristic of small reverberation chambers and plates and the sound created is ineffective in order to create ambience Reducing the initial sharp attack by raising the SHAPE control causes the reverb to build more slowly and to sustain briefly before it dies away The more the initial attack is reduced the slower the envelope builds up and the longer the sound sustains When the SHAPE control is raised at more or less a quarter of its maximum value SPREAD has very little or no effect at all Once that limit is surpassed SPREAD can affect the length of both the buildup and the sustain By raising the SHAPE value even further the buildup and the sustain remain similar while a secondary sustain shows up at a lower level than the firs
25. t one this simulates a very diffused reflection of the back wall of a hall and it is very effective in creating a sense of size and space This reflection mode reaches an optimal loudness at SHAPE values higher than half way though It is important to note that none of these shape effects are clearly audible unless TIME is set short enough 5 Overloud BREVERB User Manual US Let s focus on the TIME parameter for a moment As a starter it s mandatory to state that TIME is calculated following the RT60 method which means that it measures the time interval between the beginning of reverberation and when the tail reaches 60dB in level Following this much needed clarification it s important to highlight TIME s strong logical connection with the SIZE parameter To better explain this concept let s make an example if you set SIZE to a low value roughly corresponding to a small room and TIME to a high value you are trying to model a totally unrealistic situation It would be better to set a TIME parameter so as to match a given SIZE parameter in order to obtain a more realistic solution and a better performance form the reverb Nevertheless you CAN still have this setting on BREVERB just don t expect that it will sound perfectly natural The effects class of sound does not aim to give an idea of space or to reproduce a specific hall or recording room instead it tries to set a particular colour and in doing so it allows you to work on you
26. ting special effects or to clean up the sound a bit in situations where the tail of the reverb tends to muddy up the mix There are several parameters to control its action Threshold dB Attack Sec Release Sec Hold Sec Shape Linear or Sigma and Slope The Threshold parameter sets the limit expressed in dB under which the gate will close There is an automatic re open threshold that is set by BREVERB s engine after analysing the signal characteristics The Attack sets the time needed by the gate to switch from closed to open while the Release parameter sets the amount of time it takes for the Gate to close The Hold parameter adds an amount of time in which Gate remains open even if the signal level drops below the Threshold The Shape parameter controls the shape of the attenuation curve you can choose between Linear and Sigma shapes If the Shape parameter is set to Sigma the Slope parameter will control the exact shape of the S higher values mean a steeper curve 4 Overloud BREVERB User Manual US 3 Behind the Curtain Before we jump to the detailed description of the programs and parameters let s take a look at the philosophy laying behind BREVERB s reverberation algorithms BREVERB is the result of a great deal of research into acoustics and reverberation It will produce sound of two types ambience and effect sounds Ambience is the use of reverberation or reflected sound energy to give recorded
27. tiplier of the master reverberation time Low Sets the reverberation time of the low frequencies relative to the master reverberation time It is expressed as a time multiplier For example setting Low to 1 8x means that the reverberation time of the low frequencies is 1 8 times longer than the master reverberation time Low Freq Hz It is the crossover frequency which defines the low frequencies High Sets the reverberation time of the high frequencies relative to the master reverberation time It is expressed as a time multiplier For example setting High to 0 6x means that the reverberation time of the high frequencies is 0 6 times shorter than the master reverberation time High Freq Hz It is the crossover frequency which defines the high frequencies Damping real environments tend to attenuate the high frequencies due to the damping factors of the materials the walls are made of or of the objects in the room which mostly absorb high frequencies The Damping parameter controls the amount of this absorption and can be used to simulate different types of hall padding Low Cut Hz It sets the cut off frequency under which the tone is not reverberated It can be used to avoid rumbling in the low frequencies depending on the source material 20 Overloud BREVERB User Manual US 5 6 Room Reverb General Time Sec TIME sets the duration of the reverberation tail It s also influenced by the SIZE parameter Siz
28. ual US 1 Introduction BREVERB the newborn in Overloud s family is one of the most complete high end studio quality reverbs ever seen It offers a suite of 4 high quality reverb algorithms Hall Room Plate Inverse All are specifically designed to give the sound of an acclaimed high quality outboard reverb unit BREVERB offers high quality musical reverb processing with a flexibility previously available only in extremely expensive hardware reverbs BREVERB is also engineered to achieve the highest levels of musicality helping you to place it perfectly in any mix Unlike convolution reverbs a reverb that reproduces the real impulse response of a real hall which recently have gained a lot of popularity BREVERB allows you to vary the nature of reverberation through several parameters giving you the flexibility and real time feedback that has always been a prerogative of the most famous studio digital reverbs Overloud BREVERB User Manual US 2 Schematics gt gt gt D A Fun Yv lt REVERB Ee lt GATE The scheme above depicts BREVERB s signal chain the Input signal is split in two the Dry portion which is the Input sound without any change whatsoever and the Wet portion which will carry the Input sound processed by the Reverb module followed by the EQ and Gate sections At the far right at the end of the processing the Output section the in the scheme will mix the Dry and the Wet
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