TC Electronic REVERB 4000 User Manual - Dvr-2
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DVR-2
Introduction
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
elsewhere in Reverb introduction 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.
Recreation of a Classic
The development of DVR-2 has been a process
extending 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...
Hardware technical: What was the precision of
converters and how where they implemented in
the eighties with emphasis, block scaling,
linearity, filters etc? How much processing and
RAM was available, what was the sample rate
etc?
Software technical: Which kind of processing
was done in discrete circuitry, what type of
truncation and noisefloor artifacts would result,
how could the low sample rate be mimicked
precisely, and how could all of this be
transferred to a modern DSP platform.
Perceptual: Making sure the qualities of the
original processor was preserved. Sweet
modulation, spectral characteristics,
spaciousness, distortion, saturation etc.
Hundreds of hours spent listening and
measuring.
User: The four basic parameters of the EMT250
were carefully laid out, offering a remarkably
simple user interface with complex, yet
optimized interactions under the hood. DVR-2
is a resemblance of that including range and
coarseness of parameters. Also the original I/O
structure is kept with Mono in to Stereo and
Quad out.
Better than the Classic?
While DVR-2 in Normal mode is very close to
the sound of a perfectly aligned 250, having
used much DSP power to mimic artifacts of old
hardware, the algorithm can also be put in a
High Resolution mode. Using this function, the
noisefloor is much lower, but use your own ears
to determine if this is actually a plus for a
specific situation.
Please note: Many of the constraints and
criteria listed above produce non-linear audio
behavior, making it impossible to obtain more
than a static and crude result if trying to sample
an original processor. A minute emulation does
more justice to the original from an audio point
of view, and can also still be adjusted.
Main page
Reverb
Pre Delay
Range: 0, 20, 40 and 60ms
Pre delay is the amount of time from an input is
received until reverb starts building up at the
output.
Decay
Range: 0.2 - 4.5s
Adjusts the Master Decay time.
Lo Decay
Range: 0.5 to 2.0
Decay multiplier for low frequencies. For a x1.0
setting, low frequency decay will equal the
Decay setting.