Access virus os4 Manuel D’Utilisation
168
CHAPTER
16
Parameter of the effects menu
you route the Delay signal to the
internal aux paths for further pro-
cessing.
internal aux paths for further pro-
cessing.
01111111111111111112
1 DELAY
OutSel Out 1+2≤
OutSel Out 1+2≤
61111111111111111154
The following parameters will only
appear in the display when you’re
working with DELAY algorithms.
appear in the display when you’re
working with DELAY algorithms.
REVERB TYPE
This parameter lets you select from
among four different room sizes to
create the type of simulation that
you want. Room size is decisive
because it determines the density
of room reflections, which in turn
influences the character of the
room simulation. In bigger rooms,
sound travels across greater dis-
tances than in a small room, which
means that the intervals between
the reflections bouncing off the
virtual walls are also greater. Simu-
lating bigger rooms requires more
delay memory, which leaves you
with less memory available for pre-
delay effects (PREDELAY, see
below).
among four different room sizes to
create the type of simulation that
you want. Room size is decisive
because it determines the density
of room reflections, which in turn
influences the character of the
room simulation. In bigger rooms,
sound travels across greater dis-
tances than in a small room, which
means that the intervals between
the reflections bouncing off the
virtual walls are also greater. Simu-
lating bigger rooms requires more
delay memory, which leaves you
with less memory available for pre-
delay effects (PREDELAY, see
below).
On the other hand, you can deter-
mine the decay time of the room
simulation independently for the
room size of your choice. You can
select from among:
mine the decay time of the room
simulation independently for the
room size of your choice. You can
select from among:
01111111111111111112
1 REVERB
Type Ambience≤
Type Ambience≤
61111111111111111154
REVERB DECAY TIME
This parameter determines the
decay time for the given room.
decay time for the given room.
In a real room, the sound bounces
off several walls and covers a con-
siderable distance before it
reaches your ear. The longer the
sound travels and the more often it
is reflected, the softer it will
become. You could say that this
effect is comparable to a pool or
billiards ball that travels a greater
distance, bouncing of several cush-
ioned edges along the way. This
friction depletes energy and
causes the pool ball to slow down.
The sound’s loss of energy is con-
trolled via DECAY TIME. When you
off several walls and covers a con-
siderable distance before it
reaches your ear. The longer the
sound travels and the more often it
is reflected, the softer it will
become. You could say that this
effect is comparable to a pool or
billiards ball that travels a greater
distance, bouncing of several cush-
ioned edges along the way. This
friction depletes energy and
causes the pool ball to slow down.
The sound’s loss of energy is con-
trolled via DECAY TIME. When you