Effects

This chapter is from the book

Adobe Audition CC Classroom in a Book, 2nd Edition

Learn More Buy

This chapter is from the book

This chapter is from the book 

Adobe Audition CC Classroom in a Book, 2nd Edition

Learn More Buy

Reverb effects

Reverberation imparts an acoustic space’s characteristics (room, concert hall, garage,) to audio. Two common reverb processes are convolution reverb and algorithmic reverb. Audition includes both.

Convolution reverb is generally the more realistic sounding of the two. It loads an impulse, which is an audio signal (typically in WAV file format) that embodies the characteristics of a particular, fixed acoustic space. The effect then performs convolution, a mathematical operation that operates on two functions (the impulse and the audio) to create a third function that combines the impulse and the audio, thus impressing the qualities of the acoustic space onto the audio. The trade-off for realism is a lack of flexibility.

Algorithmic reverb creates an algorithm (mathematical model) of a space with variables that allow for changing the nature of that space. It’s therefore easy to create different rooms and effects with a single algorithm, whereas with convolution reverb, you would need to load different impulses for fundamentally different sounds. All Audition reverbs other than the convolution reverb use algorithmic reverb technology.

Each type of reverb is useful. Some engineers prefer algorithmic reverbs because it’s possible to create idealized reverb spaces; others prefer convolution reverb due to its “real” feel.

Convolution reverb

The convolution type of reverb can produce extremely realistic reverberation effects, and can also be useful for sound design. However, it is a CPU-intensive process.

The effect allows you to load an impulse file, which gives enormous flexibility as there are many impulse files based on real-world locations readily available for download.

Studio Reverb

The Studio Reverb is an algorithmic reverb that’s simple, effective, and works in real time so it’s easy to hear the results of changing parameters.

1. If you have any files open, choose File > Close All. Then choose File > Open, browse to the Lesson04 folder, and open Drums110.wav. In any Effects Rack click an effect insert, click an effect insert’s right arrow, and choose Reverb > Studio Reverb.

   

   Click to view larger image

2. With the Default preset selected, vary the Decay slider.

3. Drag the Decay slider all the way to the left, and then vary the Early Reflections slider. Increasing early reflections creates an effect somewhat like a small acoustic space with hard surfaces.

4. Set Decay to about 6000 ms and Early Reflections to 50%. Adjust the Width control to set the stereo imaging, from narrow (0) to wide (100).

   TIP

   Low to moderate Early Reflections settings, with Decay set to minimum, can add a little bit of ambience to otherwise dry sounds. This can make narration seem more “real.”

   NOTE

   Engineers often reduce the low frequencies on reverb to prevent adding reverb to bass and drums, which can produce a muddy sound.

5. Move the High Frequency Cut slider more to the left to reduce the high frequencies for a darker sound or more to the right for a brighter sound.

6. Move the LF Cut slider to the right to reduce low-frequency content, which can tighten up the low end and reduce muddiness, or more to the left if you want the reverb to affect lower frequencies.

7. Experiment with the Damping setting. The difference between Damping and High Frequency Cut is that Damping applies progressively more high-frequency attenuation the longer a sound decays, whereas High Frequency Cut is constant.

8. Vary the Diffusion control. At 0% the echoes are more discrete. At 100% they’re blended together into a smoother sound. In general, high Diffusion settings are common with percussive sounds; low Diffusion settings are used with sustaining sounds (voice, strings, organ, and so on).

9. Experiment with the Output level options, which vary the amount of dry and wet audio.

Reverb

When you call up the Reverb effect, you’ll likely see a warning alerting you that this is a CPU-intensive effect and advising you to apply the effect before playback.

The Reverb effect is a convolution reverb, though unlike with the Convolution Reverb effect, you can’t load an impulse file.

Full Reverb

Full Reverb is a convolution-based reverb and is the most sophisticated of the various reverbs. It is also the most impractical to use because of the heavy CPU loading. You cannot adjust parameters other than the level controls for dry, reverb, and early reflections levels during playback, and even then, the level control settings take several seconds to take effect. If you stop playback and adjust them, however, the change occurs immediately on playback.

Surround Reverb

The Surround Reverb effect is primarily intended for 5.1 sources, but it can also provide surround ambience to mono or stereo sources.

If you’re producing a 5.1 mix for film or television, you may find this reverb particularly useful for bringing mono or stereo audio sources to life in a constructed surround sound environment.