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CHAPTER 

16

Parameter of the effects menu

This parameters influences the 
room’s static frequency response.

Natural reverb will always have 
some high-frequency attenuation 
since the sound bounces off at 
least one wall. REVERB COLOR is 
identical to DELAY COLOR; here 
you’re dealing with a variable filter 
that can act as a low-pass filter 
(negative control range) as well as 
a high-pass filter (positive control 
range). For a natural-sounding 
room simulation, you should 
always set REVERB COLOR to a 
slightly negative value to dampen 
the higher frequencies of the room 
signal. This will make the effect 
sound more authentic and the 
room sound warmer. You can, how-
ever, opt to create interesting arti-
ficial-sounding effects by cutting 
the lower frequencies radically. To 
this end, experiment by varying 
the high-pass filter within REVERB 
COLOR’s positive control range.

REVERB COLOR is a static filter, 
which means it generates a differ-
ent effect than that of REVERB 
DAMPING, where the amount of 
high-end damping is a factor of 
time.

In the signal path. the filter is 
located at the output of the pre-
delay. This means that the filter 
also influences pre-delay feedback 
(REVERB FEEDBACK, see below) 
when you use this parameter.

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 1 REVERB
 Color       -10≤

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This parameter controls the pre-
delay time of the given room simu-
lation.

In a real room, sound travels quite 
a distance and is reflected at least 
once before it reaches your ear. 
This means that a certain amount 
of time elapses before you hear 
the earliest reflections of the room 
signal. The bigger the room, the 
longer it takes for the reflected sig-
nal to reach your ear. This effect is 
emulated in a room simulation be 
means of a parameter called pre-
delay. Irrespective of the values set 
for the other REVERB parameters,