You may run as many as 16 channels of pristine reverb on a single System 6000 frame.
If you need even more, simply add one or more frames and link them on the same network. This way, you virtually get an unlimited number of output channels.
Feed Reverb 8 with any signal: Mono, Stereo, 5.1, 7.1, etc. and process to an infinite number of output channels.
In short, you can go from mono to infinity, or anywhere in between.
Reverb 8 takes hundreds of parameters into account when rendering.
Yet, the Grid display allows you to manipulate spaciousness for countless channels quicker, better and over a wider range than ever before.
Even if you change the Decay time from 2 to 10 secs for all channels at an instant, Reverb 8 cleverly protects the balances of your mix so you don't have to counter-adjust a multitude of other parameters.
Fully Downmix Compatible
Reverb 8 has you covered even after downmix thanks to the extremely high 'what you hear is what you get' factor. In short, Reverb 8 is the fastest and easiest way to pristine multichannel reverb rendering.
For most reverbs, even switching from stereo to mono offsets the mix balance. Now imagine the same in a 32 channel system. Therefore, we made sure that Reverb 8 mixes down gracefully to 22, 11, 7, 5, 2 or even mono without introducing phasing artifacts or altering the balance of a mix.
Making The Most of More Channels
Extra discrete channels also give you the possibility of conveying spaces more realistically than ever before, but only if the new channels are not wasted through simple matrix processing or phantom imaging.
Making the most of 5.1 was also an objective when we developed the industry's reference upconverters, UnWrap and UpCon; but while they deliver great envelopment without adding any reverb, Reverb 8 adds whole new colors to the mixing palette: The ability to add wild and imaginative spaces to even a mono source.
It takes time to adjust the crucial balance between direct sound and reverb (D/R ratio) for the envelopment you wish to achieve. If 'Power Correction' is turned on before balancing is done, Reverb 8 protects your D/R ratio even if the Decay time is adjusted subsequently.
Power Correction is therefore a feature that allows you to do last minute mix changes and wild effects while saving hours of re-trimming, as well as the freedom to experiment in creative ways with radical decay time settings.
In fact, Power Correction is so efficient that if you measure the loudness of the reverb channels, you will see that also in this respect your overall level remain consistent.
You can engage and pre-define to which degree Power Correction should kick in (50% or 100%) on the Main Page.
As you see on the graph, with Power Correction Off (red line), the reverb gets louder as you increase the decay time, disturbing your mix balances.
With Power Correction set to 100% (green line), the loudness stays the same no matter how you adjust the decay time, preserving your balances.
Verb on Verb
Adding a significant amount of reverb to a signal that already contains spatial information should be avoided, or so current pro audio procedure has it.
With Reverb 8, think again. Thanks to a new envelopment technique, we made sure that you can regard even a distant mic pick-up or a composite mix a perfect input source.
In other words, 'Verb on Verb' is now a 'do' instead of a 'don't'.
The Grid - Fast and Easy Operation
The Grid gives you fast and easy access to creating and adjusting amazing spaces for many channels simultaneously.
You can configure 8 speakers per instance in 3 different ways: Surround, Rows and Columns.
In surround your speakers are aligned front and back as well as on the sides.
When configured as rows, you have 4 speakers at the front and 4 at the back.
In column configuration, you have 4 speakers on each side.
Just below the grid, you'll find 4 buttons for setting Decay, Lo Decay, Hi Decay and Hi Cut.
Just select the parameter you want to adjust (in this case Decay) and drag the slider up or down.
When a button is selected, you can drag the green dot around the grid.
In this case, the decay time of channel 8 would be much longer than the rest, channel 5 and 7 somewhat longer, and channel 3 and 6 a bit longer.
When you have placed the green dot for more than one parameter, the one you select at any given time is green while the rest are displayed in the grid as grey dots.
Grid & Group Setup
Define how the grid works by setting the parameters of the four buttons below the grid: Decay, Lo Decay, Hi Decay and Hi Cut (see above).
You can set the resolution as well as the 'Focus' which determines how much neighbor channels are affected. 'Narrow' influences the neighbor channel a bit, while 'Default' influences the neighbor channel plus the next a bit. 'Wide' also influences two channels on either side, but more than 'Default'.
You can also set Focus to 'FB Only' (front/back) or 'LR Only' (left/right) for applying the same off-center adjustments to all channels in either FB or LR layers.
On this page, you can also assign channels to 2 groups. The channels you mark go to Group 1 and the remaining belong to Group 2.
page, you can use Groups
(as defined on the
Setup page, see above) to quickly offset balances and timing. You
simply get easy access to and
control over the
level and decay
channels in a snap.
You can also make quick A/B tests by using the Mute and Zero functions. Simply mute the output of one of the channel groups instantly, or set Pre Delay for an entire group of channels to zero with a single click.
It is also on the Main page that you engage and control the amazing Power Correct tool as described above.
Use the 'Rev' page for basic setup and color adjustment.
If you use more output channels than 8, be sure to have Assignment set correctly, i.e. to different Planes (NHK Multi-channel terminology) or to different Layers (all other formats).
You may combine e.g. a Layer 1 Surround in one Engine with a Layer 2 Column in another Engine, but you should always set different instances of Reverb 8 to different Layers.
Dig into the nitty-gritty details on how to setup and use Reverb
8 in your projects.
Perception of Space
When entering a room with eyes closed, it only takes a bit of sound before we are able to perceive the size of it. While low frequency cues aren't of much use for localization, lower registers are very important when perceiving room-size. In fact, both types of sensation rely on the fastest processing structures in our entire brain, namely L/R ear comparison.
Now, when you pick-up sound in a room with multiple microphones, lower octaves tend to collapse, unless the distance between mics is significant. This happens because the long wavelength makes closely positioned capsules hear almost identical signals.
In fact, when multiple mics are used to capture the sound of a hall for reproduction via loudspeakers, there has always been a compromise between imaging and envelopment. And adding extra microphones to support yet more speaker channels, yields a diminished return because of the lack of relation between pick-up, direction, directivity and delivery of sound. The missing relationship between mics and speakers fundamentally works against such practice, so it takes an experienced and skilled engineer to do a decent 5.1 microphone recording.
At the end of the day, a multichannel signal that is collapsed at low frequency can't tell a credible story about a large room. Reverb 8 overcomes that obstacle, and becomes more convincing with each channel added because its ability to influence modal density and other relevant parameters in the reproduction room is increased; yet without compromising downmix compatibility.