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Hybrid
Includes both a Mac and Windows version of the program.
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VST-Plug-ins now enable you to use effect plug-ins as already integrated into Sequoia and Samplitude. Since their introduction these tools enjoy excellent reputation within the studio scene and are now also available for other VST-enabled audio products for the first time.
VariVerb Pro stands for VARIable reVERB and is a high-quality reverb plug-in that runs on an algorithmic basis. It provides a series of rooms, halls, reverb plates, spring reverbs and so-called non-linear effects, which can be edited comprehensively and easily.
"Algorithmic" refers to the reverb impression not being created using impulse responses, as is often the case nowadays. Instead the calculation is based on mathematic models, like with classic reverb devices. With VariVerb these algorithms can be chosen via a "model" list, each specialized on a specific replica or a specific purpose and given its own set of parameters. On the other hand, technology based on convolution is only able to interpret a static copy of a process, it doesn't know the room.
In fact, realistic reverberation is associated with dynamic, non-linear, and highly interactive processes. Not only do these conditions make sure that the artificial reverb method is constantly updated, it also underlines the effect it has as a tool of artistic expression.
Control Elements
When you open VariVerb for the first time after loading, the device will start in "easy" mode.
The Display is the core of VariVerb as it visualizes the possible parameters, their current values and a graphical visualization of the reverberated envelope.
The preset list is located above the device interface in the console where you will find the typical settings for various general tasks in everyday studio work.
For general AUX routings there is a separate category where all models are available in a "default" setting. This section can be used to design reverb if you want to start from scratch. The mixing ratio is preset to 100%
The controller for the mix ratio can be found to the right of the main interface (direct signal and reverb portion).
To the left, the "test" section and a "mute" button can be found. You can use these for temporarily switching off the input signal during longer reverb decay periods, i.e. if you want to judge the resonating reverb precisely.
On the other hand, a muted input can be useful for more complex room design using the help of the test sample: These allow for acoustic appraisal and fine-tuning of the reverb effect using three samples: stick (sidestick), snap (finger snap) and vocal (short vocal sample).
A "Zoom" controller is located at the top left corner. You can use it to evaluate the initial reverb phase. Greater zoom steps represent the first milliseconds. Room and hall models also show the most important initial reflections.
The controllers for the actual reverb parameters are located below the display. Only the most important ones are accessible first, such as room size and reverb decay.
You can perform more drastic manipulation by clicking the Expert button next to the "test" section.
If you hold the "Expert" setting, VariVerb presents all reachable parameters of the model it is based on.
In Expert settings the distances for the room & hall models of the first eight reflections are displayed. The set "size" and pre-delay are already included. These are combined left-right values for a better overview.
Individual parameters of a model are displayed as a "Tooltip" if you hover the mouse pointer over a controller. You can deactivate these tips with the same button of the display globally, if required.
This state will be saved and is independent of the preset or the current audio project.
Algorithms
The algorithms in VariVerb Pro specialized for a specific type of "room creation" can be selected from the model list in the display:
Room A: Small to medium-sized room, dampening of the low frequencies, immediate response, high density/diffusion.
Room B: Room similar to A, less dampening, slightly different reflection pattern, responding a bit slower.
Hall A: Larger hall, slower reverb buildup, less density than the "rooms".
Hall B: Similar to hall A but later response of the reflection, slightly "colder" sound.
Retro Room: Classic room effect in the style of well-known hardware reverb devices from the 80s/90s. More artificial algorithms than the previous methods. The vintage/retro character takes center stage here, definitely an "effect" sound.
Retro Hall: Type of creation like retro room, but this is a classic hall effect with the corresponding reflection pattern. Thick, cloud-like reverberation tail.
Plate A: Classic reverb plate, high diffusion, quite "dark" and "heavy", slight panorama effects.
Plate B: Reverb plate similar to A but with lighter character, faster response.
NonLin Gate: Non-linear reverb, no sustain but abrupt end instead (classic "gated" reverb effect).
NonLin Reverse: Reverb with reversed amplitude, sound impression played such as "backwards".
Spring A: Model of a reverb spiral with two linked spring systems, typical echo effects and excitation noise.
Spring B: Similar to spring A; however, the vibration is "softer".
HQ Room A/B & Hall A/B: Extremely high quality and very complex simulation, which, however, is associated with high processor strain. Nevertheless, or maybe because of it, it's the definitive "main reverb" algorithm. Very plastic, tangible room impression with free positioning of the sound source and the listening location. Here, the A and B models differ slightly from one another like in the regular room and hall algorithms, that is, HQ room A provides somewhat different dimensions and different composition than B. With the HQ halls, hall B communicates with A later and sounds slightly more complex.
In the following there will be more concentration on the available algorithmic models and focus on the individual parameters. Some apply to several models, in which case they are only referred to once.
Room & Hall
The four available room models (room A/B & hall A/B) are quite complex. Unlike the simpler reverb boxes, the reverberation is not simply created by adding echoes. Such simple systems do not account for the fact that the echoic structure becomes denser as the sustain time in real rooms increases. VariVerb Pro uses a network of reflections that resemble natural processes.
You may find the most important settings have already been set, without having to use "Expert" mode. To make things complete, here are all available parameters:
- EQ low / high: Allows you to "pre-filter" the signal before adding reverb. The filters have shelving characteristics. The corner frequencies vary according to the model type.
- predelay: Determines the time by which the actual reverb process is delayed. This parameter is ideal for fine tuning in order to convey a feeling of "distance" or "isolation".
- size: Determines the room size. Moving the knob to the leftmost position means the smallest size, moving it to the right extends the reflection times. Smaller "Size" settings also reduce the distance between the individual reflections. However, resonances may also develop due to the short distance in-between. Increasing the size of the room creates more space; however, it also means that the so-called "modal density" decreases, i.e. more time will pass before a feeling of density arises.
- decay: With this controller you can define how fast the reverb tail will be absorbed, that is, the time for the reverb to die away. Turning this knob to the left minimizes the time. You will then only hear the first reflection. Turning the knob to the right minimizes damping and results in long, sustained reverberation.
- high damp: Allows you to influence the frequency-dependent absorption of the reverb. A higher value dampens the highs and upper mids similar to the absorption effect of the air and in particular the material composition of walls.
- high freq: The corner frequency at which damping starts.
- ER tail: The mixing ratio of the early reflections and subsequent reverberation. These early reflections are decisive for perceiving the room size. Mixing them into the actual reverb improves the possibility of locating voices or instruments. Missing reflections at the start often result in "spongy" sound characteristics without orientation in "room" and "depth".
- ER absorptn: VariVerb calculates 16 initial reflections (compiled to 8 in the display). This knob lets you specify how far the last ones are weighted. A lower value results in a more "lively" sound impression, although it can also have a more intrusive or unsettled effect. A higher degree of absorption means a smaller amplitude as well as damping of highs.
- width: Specifies the width of the stereo effect. If set to left, the reverb is monaural.
Plate
A real plate reverb consists of a large metal plate (often 0.5 to 1m² thick or more), that is put into motion by a magnet and coil system (similar to a loudspeaker). The plate is usually spring-mounted on a steel frame so that it can swing freely (whereby there are various types of dampening and thus reduction of the reverb time).
On the reverb plate so-called "taps" are positioned at different locations (these are sound pick-ups comparable to those on a guitar). Several of these taps are combined to make up a full signal. Reverb plates usually are mono, i.e. a stereo signal is added to the plate as a sum. A (pseudo-)stereophonic signal is created by combining taps and their position on the plate.
Real reverb plates are only rarely used nowadays and have been almost entirely replaced by software simulation. It continues to be highly popular due to its very dense sound (high diffusion) and inaudible discreet echoes. They are therefore ideal for percussive metal.
For vocals, a plate reverb generates a smooth "feel-good effect". The slightly "metallic" resonance of a plate can be used to generate a vintage effect.
Parameters:
- EQ low / high: see room/hall
- predelay: see room/hall
- size: Size of the virtual reverb plate
- buildup: Low values result in a fast increase of reverb. If the value is greater, the transient increases.
- decay: Reverberation time, see room/hall
- damp freq / damping: see room/hall
- width: see room/hall
- modulation: Slightly alters the pitch by automatically varying the internal delay times, comparable to a chorus effect. This can reduce possible resonance; however, depending on the material (e.g. vocals or piano) it can have a negative effect on the tone pitch modulation.
Retro
As already indicated above, VariVerb Pro also features vintage-like algorithms in addition to realistic synthesis, which is used by many well-known manufacturers until today. The used processes already have the highest-possible "dispersion" at the start of the reverb phase and generate a dense, wide sound. This is highly unrealistic as discreet reflections can at most be detected as "fluttering echoes". However, the sound is often ideal when power and superficial "effects" are required.
In the past various manufacturers have attempted to tackle the often very brief repeat loops and static patterns resulting from insufficient memory. An interference occurs, which again adds charm to this algorithm.
NonLin
These (non-linear) models are the only ones without a real counterpart in VariVerb Pro. A non-linear reverb is based on a sequence of individual delay blocks (so-called bursts). By weighting these blocks you can create envelopes. Two of these typical envelopes are "nonlin gate" and "nonlin reverse". You can change the following parameters:
- EQ low / high: see room/hall
- predelay: see room/hall
- size: The size of the individual "bursts" i.e. the length of the total reverb summed up.
- diffusion: Smoothens the reverb effect. The greater the value, the more echo blocks are blurred and the more reverb occurs.
- width: see room/hall
Please note that no decay parameter exists for these models, i.e. there is no "decay".
Spring
You may remember reverb spirals from guitar and keyboard amplifiers. At the bottom of these amps a unit consisting of two to four spirals is mounted on a vibration-free carriage.
As with the reverb plate it uses systems for transforming the electric signal into a mechanical one. There are different designs and sizes of spring reverb; however, they all have the same quite peculiar sound:
the typical "bloing" sound when the springs are moved, similar to splashing. When the reverb dies away the basic pitch of the spring(s) can usually be heard quite clearly. Furthermore, the frequency range is considerably limited due to the losses in the spirals and used pick-up/transmitter. Nevertheless, or maybe for this reason, your sound is special. Some music styles such as Dub & Reggae would hardly be possible without reverb.
The Spring Reverb is implemented in VariVerb Pro as a digital effect based on so-called physical modelling algorithms. Based on a mass-spring system, the effect operates similar to the physical model of a swinging string.
Parameters:
- EQ low / high: see room/hall
- predelay: see room/hall
- size: Size of the spring system, i.e. length of the springs. A smaller value results in a very short response time and short echoes, greater values slightly spread the typical "oscillation" of the spring. The length of echoes is increased.
- decay: Decay length. Please note that, unlike the room/hall and plate models, an echo effect remains if the decay times are longer. This corresponds with the natural characteristic of a spring as they continue to be in movement during the release phase.
- saturation: The spring models also include the processes when "outputting" the signal and "receiving" it via the magnet/coil system. The transfer of electric energy into mechanical power and vice versa is non-linear so that (harmonic) distortions may occur if the input level is quite high. The saturation parameter more or less increases the output volume and switches the system into "saturation". Depending on the material, a very interesting organizational effect occurs, which again underlines the vintage character.
HQ (High Quality) models (Room A/B & Reverb A/B)
The above-described room and reverb algorithms are of high quality, very versatile and require particularly low CPU power. If you would like even more realistic and higher quality rooms and your CPU load is of secondary interest, you should take a look at the HQ models. They simulate a room with rare plasticity and naturalness, almost as if impulse responses were the basis. But they are not. VariVerb Pro has a huge armada of delays and filter stages. They require more CPU time; however, it is a good investment.
In comparison to other models these algorithms cast a far closer meshed net over the virtual room. The results are natural, fast diffusion and decorrelation of the signal, a high complexity of the reverb signal without echo pattern, and the possibility to freely position the stereo source and the two virtual microphones.
If the HQ rooms are opened in "Expert" mode you will first notice that editing of the early reflections is missing. The reason: with the non-HQ models, the artistic and sound manipulating effect is to the fore. A natural room, however, does not differentiate between early and late reflections. They migrate in time. The proportion of early reflections depends on the position of the audience.
In HQ mode such a reflection pattern and entire sound impression including stereo positioning can be edited in a top view of the selected room. In "Expert view" the usual section with the reverb sustain moves to the right and makes room for viewing from above.
Here you will find freely positionable handles for the sound sources ("L" and "R") as well as two microphones ("L mic" and "R mic"). For instance, if you increase the distance between the source and the microphone ("near/far") you will hear the signal move away from you, the delays increase, the sound characteristics become more "diffused" and more complex in total. At the same time, the previously prominent early reflections will disappear.
This tool alone contains a high potential and can also be automated.
Furthermore, in HQ mode you can also influence the dampening of highs as well as the reverberation time of the bass section.
When interacting with the high band, realistic room modelling is possible, e.g. wall surfaces. For instance, a room with wooden panels on the walls always has a poorer bass response than the same room with concrete walls, as the wood (also due to possible gaps) may also resonate and absorb the energy of long-wavelength basses. The same also applies to the furnishing of a room. Furniture, shelves, etc. are traps for basses.
Parameters of the HQ room/reverb models: Generally identical to those of regular rooms/reverbs.
Exception: "ER absoptn" and "ER:tail" are not available. Also available are:
- Low Damp: Strong dampening of the bass range.
- Low Freq: Start frequency of bass dampening.
MIDI CC Setup
The MIDI CC setup is a relatively simple routing matrix, whereby 8 of the available freely configurable MIDI controllers can be used to control 8 internal parameters.
Every "Controller" field corresponds with a "Destination" field. You can then select a MIDI controller directly from one of the lists or use the learn function.
If you activate one of the learn buttons, any upcoming external controller movements will be used to get the MIDI CC number. This way you can learn one source destination pair after the other.
If all parameters have been set, please save this setup by pressing the "Save setup" button. If you leave the MIDI cc view before doing this, the previous settings will be recalled.
The Controller setup can be regarded as global, i.e. the settings are independent of the selected presets and the current project.
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