MIXING & EFFECTS
Fruity Reeverb, short for reverberation,
simulates acoustic spaces. If you clap your hands in a bathroom and in a concert hall, the two sounds will be quite different. In enclosed spaces
reflections overlap one another to create a reverberant sound. Fruity Reeverb parameters allow you to simulate different types of acoustic spaces.
If you want to give your acoustic and electronic instruments a realistic (live) feel, then use of reverb is critical. Alternatives to Fruity
Reeverb are Fruity Reeverb 2. and Fruity Convolver.
NOTE: Reverb is one of those effects that is easy to overdo in a mix, creating a washed out and 'muddy' sound. Reverb works best on isolated or solo instruments. When your
track gets busy and has a lot going on it is better to use some light delay on instruments. Rarely should you use reverb on the Master track and affect
the whole mix, this tends to muddy the sound also.
- Low Cut - Adjusts the low cutoff frequency. Use this parameter to remove low frequencies from the input signal before reverb is
added. For example, when adding reverb to a drum track, you might want to remove some of the 'rumble' from the bass drum by attenuating the bass
frequencies. Setting this parameter to the minimum value will bypass the Low Cut filter, displaying OFF in the value field.
- High Cut - Similar to Low Cut. Adjusts the high cutoff frequency. Use to remove high frequencies from the input signal.
- Predelay - Controls the delay time between the direct input signal and the first reverb reflection. Set to lower values for
small rooms, and increase relative to the room size. Predelay creates a slap-back echo effect that can add atmosphere and muffle the signal, so use it
- Room Size - Sets the size of the virtual room where the reverb is created. Adjust according to decay time.
The Room Size should be adjusted according to the decay time. Small rooms sound best with a shorter decay times, while large rooms are suited to
longer decay times.
- Diffusion - Controls the density of the reflections bouncing off the walls of the virtual room. A low diffusion setting makes the
reflections sound more distinct, like closely spaced echoes. A high diffusion setting creates reflections so close they sound more like noise,
in which echoes are indistinguishable.
- Color - Use to adjust the decay time of the bass frequencies of the signal. Five settings are available: Brighter, Bright, Flat,
Warm and Warmer. This parameter allows you to change the overall perceived mood, or 'sound' of the virtual room. A bright room has a low bass response,
while a warm room has a high bass response. In a flat room, the response of the bass is equal to the general frequency response.
- Decay - Controls the decay time of the reverb, i.e. the time it takes for the signal to decay to -60dB (1/1000 of the maximum
amplitude). Use low decay times for small rooms or boxes, and long decay times for large rooms, halls or churches. You should also make sure that the
Room Size parameter has an appropriate value.
- High Damping - Allows you to adjust damping of the high frequencies in the reverb signal over time. Damping refers to the high
frequencies being attenuated and dying out. This causes the sound to become gradually warmer and more muffled, as if it is being absorbed in the room.
Setting this parameter to the maximum value will bypass the High Damping, displaying OFF in the value field.
- Dry - Sets the relative dry output level.
- Reverb - Sets the relative reverb (wet) signal level.
Translation: Frederic Vanmol.