The RV-200’s reverberation engine offers class-leading sound quality, backed by custom Boss DSP, 32-bit AD/DA, 32-bit floating point processing, and a 96 kHz sampling rate. Every algorithm offers true studio-grade performance with outstanding detail and definition. From essentials like Room, Hall, and Plate to deeply immersive sounds like Shimmer, Slowverb, and the new Arpverb, the RV-200’s 12 distinctive reverb types provide ambient colors for every song and style.
Like all 200 series pedals, the RV-200 offers a powerful yet intuitive panel that makes it easy to shape great sounds. Core controls include reverb time, effect level, pre-delay, and variable high and low filters. There’s also a density control to adjust the weight of the sound, plus a parameter knob that provides access to multiple sound-shaping tools unique to each reverb type.
The RV-200 includes memories for storing 127 reverb sounds. Two onboard footswitches pack a lot of performance versatility, with numerous options to reassign their targets for different needs. Users can bypass the effect, scroll through memories, and activate a Hold function to carry on the reverb effect for as long as the switch is pressed. It’s also possible to assign powerful performance effects such as Warp, Twist, and Fade.
The RV-200 supports numerous options for external operation. Many assignable parameter targets can be controlled via footswitches or an expression pedal, and MIDI I/O is provided on space-saving mini TRS jacks. Via MIDI, users can chain multiple 200 series pedals and select memories on all of them at once. It’s also possible to control various functions from external MIDI controllers and devices like the Boss ES-8 and ES-5 effects switchers.
Photo 1: Waves Audio IR-1
Most of us add reverb at some point in our recording process, and most of that is through digital plug-ins found in our DAW or by third-party makers (FabFilter, Waves, Universal Audio, etc.) or through rackmounted outboard gear. (Photos 1 and 2 provide a look at the Waves Audio's IR-1 and FabFilter's Pro R in action.) Whatever type of reverb you add, I'd be willing to bet that your process might be similar to this: pull up a reverb, set the amount of wet/dry, maybe tweak the overall time, and you're done. But there's so much more you can do!
I'd be willing to bet that your process might be similar to this: pull up a reverb, set the amount of wet/dry, maybe tweak the overall time, and you're done. But there's so much more you can do!
First, let's look at the main parameters of reverb. In any given space (size doesn't matter), something has to happen that sets sound pressure waves in motion. This is called an impulse function (a loud clap, popping a balloon, a righteous, single, 100-watt djent, etc.). The measurement of that impulse function is called the impulse response (IR). The impulse response contains four main parameters of what we generally call reverb.
Fig. 1
Imagine Metallica is doing a soundcheck at your local stadium and they're going to perform "Damage, Inc." (Still one of my favorite songs!) You're in front-of-house position (FOH), where the mix engineer sits. After the layered reversed guitar intro (lasting 1:18, for those listening at home), the band kicks in with those devastating, staccato, "chunks." With each one, several things happen in rapid succession—remember, I'm relating this as simply as possible as it's really complex. Look at Fig.1. You'll see the:
- Direct sound: A certain amount of sound reaches your ears directly, without reflecting off anything. Obviously, you hear this first.
- Early reflections: These initial reflections are easy to hear and generally bounce off a few things before reaching your ears and arrive closely after the direct sound.
- Reverb: As more reflected sounds reach your ears with mosh-pit ferocity, the ears can no longer make out individual early reflections because of the buildup, and "reverb" starts.Length: Once reverb starts, the time it takes for the sound to bounce off the rafters and for the venue to eventually fall silent again is known as the reverb time or RT60. RT60 is generally the amount of time it takes for the IR to fade 60 dB and merge back with the inherent noise floor of the building.
- Length: Once reverb starts, the time it takes for the sound to bounce off the rafters and for the venue to eventually fall silent again is known as the reverb time or RT60. RT60 is generally the amount of time it takes for the IR to fade 60 dB and merge back with the inherent noise floor of the building.
Okay, now let's get down to business. Most reverb plug-ins allow you to adjust time, EQ, pre-delay, and mix (wet/dry). Some, like Waves IR-1 reverb ($29 street) and FabFilter's Pro R ($199 street) offer much more, but in very different ways.
Adjusting the Pre-Delay
Photo 2 : FabFilter's Pro R
Increasing the pre-delay will postpone the arrival time of reverb. Which means that you can easily defy the laws of physics. Since sound travels at 1,125 feet per second (at 68 degrees Fahrenheit at sea level), by adjusting the pre-delay, you can move the arrival time of the reverb to a later point (that's not physically possible), yet when the reverb actually starts, it goes back to obeying the laws of physics. This trick is often used to bring clarity to an instrument's articulation and to subtle parameters that might be getting washed out in the original reverb. This works extremely well on vocals, snare drum, acoustic guitars, staccato power chords, etc. Further, some pre-delay settings can be synced (quarter-, eighth-, 16th-note, etc.) to the BPM of the song. FabFilter's Pro R does this, again violating the laws of physics. Adding even more violations to the properties of sound, Waves IR will allow you to add a pre-delay to the early reflections before reverb.
Adjusting the EQ
Adjusting the reverb's EQ can add another layer of complexity. Boosting top end to make it brighter can make a heavily pre-delayed reverb sound like it would if it were closer to the source, but, because of the pre-delay, it would organically sound dark and dull. One other thing to try is adding a narrow Q to a frequency band (or several) and tuning your reverb to the key or a specific harmony you wish.
I encourage you to play with all the available parameters as much as you can and see what kind of craziness you can come up with. I'll be sharing some of mine on my website, bryanclarkmusic.com, should you want to see and hear some more examples. Until next time, stay open-minded and keep rocking! Namaste.