WLFS Music Technology

Wider Context Topic Timelines – Reverb

  • 1930S

    Natural Reverb

    • Reverb would be captured at the time of the recording in live rooms with varying reverberation characteristics

    • Earliest form of reverb

    • The resulting reverb is affected by various factors:

    • Size of the room

    • Angles of the walls/Shape of the room

    • Distance/Height of the microphones

    • Materials in the room

    • The more reflective, the longer/brighter the reverb

    • The more absorbent, the shorter the reverb time

    Reverb can’t be easily removed after initial capture

    Reverb settings can’t be easily adjusted

    Chamber Reverb

    • A dry recording would be played back and recorded in a reverberant space to add ambience

    • Spaces included stairwells, concrete basements and churches

    • The wet sound is blended with the dry signal

    • Usually recorded using omnidirectional microphones

    Echo Chamber

    More control over levels compared to natural reverb

  • 1930s/40S

    Spring Reverb

    • Audio is sent through metal springs

    • Analogue and mechanical reverb

    • Reverb has a ‘bouncy’ sound

    • Featured dampeners to change the reverb time

    • Commonly used in amplifiers for Hammond organs and guitars

    • Added after recording to close miked/dry tracks

    • Mid frequency focused/Lack of high frequencies

    • Mono, later versions supported stereo

    Accusonics Type 4

    Spring reverb is cheaper than plate reverb

  • 1950S

    Plate Reverb

    • Audio is sent through a metal sheet suspended in a frame

    • Creates a reverb with a ‘smooth’ and ‘bright’ tone

    • Featured dampeners to change the reverb time

    • Commonly used on vocals and drums

    • Added after recording to close miked/dry tracks

    • Has a short pre-delay

    • Mono, later versions supported stereo

    • Would only be found in studios due to its large size and price

    EMT 140

    Plate is more sonically desirable (less metallic)

  • Late 1970s/80S

    Digital Reverb

    • Reverb is created using mathematically calculated delays (algorithms)

    • Filters are added to make reverb sound more ‘natural’

    • Added after recording to close miked/dry tracks

    • Rack-mounted hardware

    • Able to tempo sync and use more precise settings

    • Stereo

    • Filtered reverb was possible

    • Gated, reverse and non-linear reverbs were possible

    • Easily adjustable settings such as pre-delay and decay time

    • MIDI compatible

    • Can be used live

    Lexicon 224

    Became software plug-ins as processors developed

  • Late 1990s

    Plug-Ins

    • Reverb is created using mathematically calculated delays (algorithms)

    • Can be used in multiple instances/multiple tracks

    • Emulated hardware units

    • Able to tempo sync and use more precise settings

    • Stereo

    • Filtered reverb is possible

    • Gated, reverse and non-linear reverbs are possible

    • Easily adjustable settings such as pre-delay and decay time

    • Automation of parameters is possible

    ChromaVerb in Logic Pro

    Allows for the storage of pre-sets

  • 1990S

    Convolution ReVerb

    •Reproduces a real reverb from an existing space

    •An impulse response is recorded in a room

    • Used in sound design and computer games

    Space Designer in Logic Pro

    Heavy on processor usage

Why not check out one of these videos below to gain some wider knowledge: