It works by using a transducer to send na audio signal through a large plate of metal. The next innovation in artificial ambience was plate reverb. Luckily for modern producers there are plenty of great chamber reverb plugins available today: Real chamber reverb is impractical for the majority of studios because it requires so much space.īut it had a unique sound that’s associated with early hit recordings. The engineer would play the recorded sound back through the speaker and capture resulting reverberation with the microphone. The earliest reverberation devices used physical spaces to create ambience.

This absorption of high and low frequencies in acoustic reflections is called damping. DampingĪcoustic spaces react in different ways to the frequency content present in a sound.įor example, the brightness, darkness and weight of acoustic reflections is affected by the materials of the surfaces and the geometry of the room. If the reverb signal feels too present on the onset of notes or hits, try increasing the pre-delay time before reaching for the decay time or wet/dry balance. This is especially useful for dense reverbs that build up quickly. It’s used to give the dry signal some space before the reverb kicks in. Pre-delay introduces a short delay before the reverb signal begins its decay cycle. Shorter settings produce closer, more abrupt reflections that can simulate a small or enclosed acoustic space like a tiled bathroom.

Try these if you’re looking for an expansive ambient reverb. Long decay times are generally associated with larger acoustic spaces like cathedrals or concert halls. Decay time sets the overall duration of the reverb tail.

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