Overloud BREVERB 2 - User Manual - US

Ver. 1.2

algorithmic software reverberation unit

All rights reserved • Overloud® is a registered trademark of Almateq Srl

All specifications are subject to change without notice • Made in Italy
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TABLE OF CONTENTS
INTRODUCTION _____________________________________________________4
SCHEME___________________________________________________________________5

BEHIND THE CURTAIN ________________________________________________7

MIX REVERBS ______________________________________________________________7
SOURCE REVERB ___________________________________________________________7

BREVERB GRAPHIC INTERFACE ________________________________________8

PRESET MANAGEMENT______________________________________________________9
COMPACT VIEW ___________________________________________________________11
SMART FADERS VIEW ______________________________________________________15
PREFERENCES ____________________________________________________________18

BREVERB PARAMETERS _____________________________________________20

MASTER SECTION _________________________________________________________20
EQ SECTION ______________________________________________________________21
GATE SECTION ____________________________________________________________22

HALL REVERB ______________________________________________________23

HALL - Main ______________________________________________________________23
HALL - Pre ________________________________________________________________24
HALL - Freq _______________________________________________________________25

PLATE REVERB _____________________________________________________26

PLATE - Main _____________________________________________________________26
PLATE - Pre _______________________________________________________________27
PLATE - Freq ______________________________________________________________27

ROOM REVERB _____________________________________________________28

ROOM - Main _____________________________________________________________28
ROOM - Mod ______________________________________________________________28
ROOM - Freq ______________________________________________________________29

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INVERSE REVERB ___________________________________________________30

INVERSE - Main ___________________________________________________________30
INVERSE - Freq ____________________________________________________________30

SPACES SMALL REVERB _____________________________________________31

SPACES SMALL - Main ______________________________________________________31
SPACES SMALL - Early ______________________________________________________31
SPACES SMALL - Reverb ____________________________________________________32
SPACES SMALL - Time ______________________________________________________32

SPACES LARGE REVERB______________________________________________33

SPACES LARGE - Main ______________________________________________________33
SPACES LARGE - Early ______________________________________________________33
SPACES LARGE - Reverb ____________________________________________________34
SPACES LARGE - Time ______________________________________________________34

SOURCE REVERB ___________________________________________________35

SOURCE - Main ____________________________________________________________35
SOURCE - Early ____________________________________________________________36
SOURCE - Early2___________________________________________________________37
SOURCE - Reverb __________________________________________________________38

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INTRODUCTION
BREVERB, one of the most complete high-end studio-quality software reverberation units offers
7 top quality reverb algorithms:

• HALL
• PLATE
• ROOM
• INVERSE
• SPACES SMALL
• SPACES LARGE
• SOURCE

All of them are specifically designed to reproduce the sound of acclaimed high-quality
reverberation units.

BREVERB offers musical reverb processing with a flexibility previously available only with
extremely expensive hardware reverbs and is also engineered to achieve the highest levels of
musicality helping you to perfectly place it in any mix.

Unlike convolution reverbs (a reverb that reproduces the real impulse response of a real ambient
space), BREVERB allows you to vary the nature of the reverberation through several parameters,
giving you the flexibility and real-time feedback that has always been a prerogative of the most
famous studio equipment.

The newly added algorithms and the several new functionalities and improvements of the user
interface have spread its field of action even more and made BREVERB the best solution for
studios digital reverberation.

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SCHEME

The scheme above depicts the BREVERB’s signal chain. The Input signal is split in two: the Dry
portion, which is the Input sound without any change whatsoever, and the Wet portion which
will carry the Input sound processed by the Reverb, the Equalizer and the Gate modules. At the
end or the chain, the Output section (+) will mix the Dry and Wet portions in order to accurately
set their sound levels.

REVERB
This is the core module of BREVERB. It provides the main processing for the entire unit. You can
choose between seven different reverberation algorithms which heavily modify the internal
structure of this module as you can see from the specific set of parameters at your disposal for
each algorithm. For an in-depth description of the concepts behind the reverberation algorithms
and their functionality please head to the next chapter.

EQ
This EQ unit is a two-band full parametric equalizer. Each band is allowed to span the entire
audio spectrum and can be operated with the usual set of three parameters: Gain (dB), Frequency
(Hz) and Q factor (%). While the first and second ones will set the amount of frequency of the
process, the Q factor is a little more complex: in a common situation it will set the width of the
EQ’s bell-shaped curve, but at the extreme settings it will turn the EQ into a second order Shelf
EQ (high for band 1 or low for band 2) or a filter (a high-pass for band 1 and low-pass filter for
band 2)!

GATE
The GATE is a sophisticated switch that lets you mute the wet sound in different fashions,
according to its parameters. As with any dynamic processor it has a gain-detection mechanism
which analyzes the dry sound level. The gate can be very effective in getting special effects or to
clean up the sound a bit in situations where the tail of the reverb tends to muddy-up the mix.
There are several parameters to control its action: Threshold (dB), Attack (Sec), Release (Sec), Hold

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(Sec), Shape (Linear or Sigma) and Slope (%). Threshold sets the limit under which the gate will close.
There is an automatic “re-open” threshold that is set by BREVERB's engine after analyzing the
signal characteristics. Attack sets the time taken by the gate to switch from closed to open, while
Release sets the amount of time it takes for the gate to close. Hold adds an amount of time for
which the gate stays open even if the signal level drops below the Threshold. The Shape parameter
controls the shape of the attenuation curve: you can choose between Linear and Sigma shapes. If
Shape is set to Sigma, the Slope parameter will control the exact shape of the “S”: higher values
mean a steeper curve.

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BEHIND THE CURTAIN

Before we jump to the detailed description of the functions and parameters, let’s take a look at
the philosophy laying behind BREVERB's reverberation algorithms.

BREVERB is the result of a great deal of research into acoustics and reverberation. It produces
sounds of two types: ambiences and effects. It comprises two categories of reverbs: generic
reverbs (mix reverbs) and single source oriented reverbs (source reverbs).

MIX REVERBS
This is the effect we generally refer to when we talk about a reverb. A mix reverb is particularly
indicated to process rich audio contents like a mix of several sources or a complete stereo image.

Some appropriate contexts for a mix reverb are: mixed audio, complete stereo audio, live
microphone takes, moving source recordings, mono sources to spread over the stereo front.

BREVERB has two groups of mix reverb algorithms: one for classic, musically harmonic and rich
sounds, best suitable for a traditional usage, and one for more modern and original tonalities.

CLASSIC MIX REVERBS: HALL, PLATE, ROOM, INVERSE

Classic mix reverbs of BREVERB take part of it since the first version. They have been designed to
sound warm, musical, rich and with the classic tone heard in several popular recordings of the
‘80s and ‘90s.

MODERN MIX REVERBS: SPACES SMALL, SPACES LARGE

Modern mix reverbs allow BREVERB to be used when a more modern kind of sound is needed.
With modern mix reverbs, the color of the volume is more emphasized and the reverb has more
density and details. It’s someway a matter of taste: modern mix reverbs sound original and new if
compared to classic ones.
There are two algorithms to best second the wanted size of the simulated space: small and large.
Small is good for smaller volumes like rooms or studios. Large is best suited for spaces like
theaters, arenas, churches.

SOURCE REVERB
When individual elements are to be precisely placed on the stereo 3D front, a source reverb
comes into play. You are allowed to exactly position each source in front of the final listener.
Source reverbs are mainly used in post-production, or in a mix when you have to create a precise
3D stereo image starting from individual tracks.

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BREVERB GRAPHIC INTERFACE

BREVERB’s graphic layout is mainly divided into two areas: the preset zone on the left hand side
and the graphic interface on the right hand side. In the bottom side of the window there are four
buttons: Preferences, Manual, About and ? to access BREVERB settings, open the user manual, get
more information about BREVERB and show/hide help tips respectively.

On the bottom right corner the two additional buttons with arrows are for Undo and Redo
functionalities.
The standalone version of BREVERB (that is when it is not running as a plug-in), also has one
more button on the left side of the caption of the window: Options, which allows to set up the
audio settings.

Let’s enter into a detailed description of each element and function of the interface...

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PRESET MANAGEMENT
BREVERB presets are organized into a collection of banks. Each bank contains 128 presets.

A bank can be selected by clicking it within the BANKS

list. The list below, PRESETS, will show the presets of the
currently selected bank.

A new bank can be added clicking the + button right

below the banks list. Conversely, the selected bank
can be removed clicking the - button.

Control-clicking (or right-clicking) a bank of the list

will show a menu with additional commands.

Rename allows to change

the current name of the
bank. Create new... inserts a
brand new bank before or
after the selected one.
Delete removes the bank
(with all its presets). Copy,
Cut, Paste... commands are
for the common actions
of copying, cutting and
pasting a bank, with the
option, for the Paste...
command, to insert the
bank, currently saved in the system clipboard, before
or after the selected bank. Import from file... lets you
import a bank previously saved as a file. Here again
you can import the bank and insert it before of after
the selected bank of the list. Export to file allows to save
the selected bank with its own presets to a file. That’s
useful to save backups and to move banks between
separate computers.

The box on the top of the preset area shows the name
of the current preset. A red mark on the right side of that box, indicates that there have been
modification on the current preset, after it was loaded, you may want to save.

The PRESETS list allows you to see all 128 presets of the selected bank and to interact with those
presets.

Every bank contains 128 presets. The initial state of a preset is marked as <empty> which means
that the preset is clear. To save the current setup of BREVERB to a preset, just click Save on the

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bottom of the presets list. Conversely, to load a preset you either can click Load or just double
click it. Last of all you can clear a preset by clicking the X button.

The presets list as well shows a menu with additional commands

when you Ctrl-click one of its items.

Rename allows to change the name of the selected preset. Load

applies the selected preset to BREVERB. Save stores the current
settings of BREVERB to the selected preset. Clear empties the
selected preset: all settings will be cleared and the preset will be
marked as <empty>. Copy, Cut and Paste are for the common actions of
copying, cutting and pasting a preset. You can easily manage your
presets with these commands. Import from file lets you import a
preset previously saved as a file. The imported settings will replace
the selected preset of the list. Export to file allows to save the selected
preset to a file. That’s useful to save backups and to move presets
between separate computers.

Some presets are marked with a letter in square brackets prefixing of their name. If the mark is
[M] it means that the preset has been designed for a mono input, so it should be used when
BREVERB is working in a Mono to Stereo configuration. If the mark is [S] it means that the preset
has been designed for a stereo input, so it should be used when BREVERB is working in a Stereo
to Stereo configuration.

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COMPACT VIEW

IN level meters
On the left hand side of the main interface there is the stereo input level
meter IN which shows the level of the input signal. Possible peaks of level over
0 dB will light the peak indicators on the top side of the meters. With mono
input signals, both bars will show the same level.

IN fader
Next to the input meters there is the input level fader which allows to adjust
the level of the input signal. There is a mark corresponding to 0 dB: when the
cursor of the fader is aligned with the mark, the input signal is left untouched.
A label on the top of the fader shows the current gain applied to the input
signal ranging from -∞ (input signal muted) to +12.0 dB. Double-click the
label to input a specific value in dB (for example to set it to 0.0 dB). The
particular value of -∞ can be set entering -oo (minus + double “o”).

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DRY & WET faders

On the right hand side of the main interface, you can find two more
faders: DRY and WET. They work together to adjust the mix between
the amount of direct sound coming from the input (DRY level) and
the processed sound (WET level).

Below both faders there are a couple of additional horizontal faders

to adjust the stereo panorama for wet and dry sounds individually.

OUT level meters

Next to the dry and wet faders there is the stereo output level meter
OUT which shows the level of the output signal. Possible peaks of level
over 0 dB will light the peak indicators on the top side of the meters.
With a mono output, both bars will show the same level.

About audio peaks

Audio peaks over 0 dB, also called “overs”, are to be taken in account specially when BREVERB is working as a standalone
application or either when it is running as the final effect of a mix. In these situations the BREVERB output signal gets then
converted into a fixed bit audio format (16 bit, 24 bit, ...) which does not allow any overs. In these situations, you’ll want to
adjust the output level so that the peak indicators will remain off.
Instead, when BREVERB works as an insert effect, the presence of overs is less serious because the floating point
mathematic calculations of the host application and plugin chains can manage them linearly and there will always be a
chance to adjust the level of the processed channel(s) before coming to the final conversion to a fixed point format.

Algorithms
As anticipated, BREVERB has several
algorithms built in to best suite the diverse
situations where a reverb is needed. On the
top center of the main interface, there is a box where the name of the current algorithm is
written. Clicking the down arrow on the right side of the box, a list drops down allowing to
change the algorithm.

Parameter pages
Each algorithm of BREVERB has a specific set of parameters which have been organized into
pages. The pages of the current algorithm are listed right below the box reporting its name.

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The first page of each algorithm is Main and

it contains the most relevant parameters of
the algorithm. You can access the pages by
clicking their name on the list.

The EQ and Gate pages deserve particular attention: they both have an additional switch placed
next the page name itself which allows to turn these sections on and off. This is particularly
suitable if you are currently focused on another page and want to rapidly make a comparison of
the processed sound with these sections turned on or off.

Parameters
Parameters appear as interactive graphic controls like knobs, faders, switches, drop-down lists
and sometimes a few of them get grouped into a more sophisticated piece of graphics.

Parameters have a label on the head writing

their name and most of them also have a
display showing the current value and unit.

Each parameter has a default value that can

be easily set Ctrl-clicking it. That’s suitable,
for example, when you want to set a gain
fader to 0 dB.

Parameters also can be adjusted with the

mouse wheel: just move the mouse cursor
over a knob and roll the wheel up or down.

Besides by moving knobs and faders, parameters can be also set by entering their numeric
values with the keyboard: double click the display and enter a new value. For those parameters
having multiple units like Time which can be expressed in ms (milliseconds) and S (seconds), the
unit can be explicitly specified during the writing of a new value.

Learning parameters usage

A good starting point to learn how parameters work together is to load BREVERB as an insert effect on a sample audio track
then scroll the presets list (double clicking its items) until you find a good one and then go through all pages to see how
parameters have been set, maybe also moving some of them to hear how the final sound gets influenced.

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ASSIGNABLE SMART DISPLAYS

On the lower side of the graphic interface of BREVERB there are six special displays. They
replicate the current values of six parameters of the current algorithm.

Having those six values in a row helps to see how they correlate to each other and allows to
adjust some of them at same time without having to flip between the parameter pages.

But a very smart feature is that they really work as aliases of real parameters, therefore you can:
point and drag a display to increase or decrease its value (or even just point it and roll the mouse
wheel). Also you can double-click it and input a new value as seen
for real parameters.

These smart displays are assignable. When you want to connect a

smart display to a new parameter, just select the right page from
the page bar, locate the parameter to assign then ctrl-drag (right-
drag) its knob (or fader) over one smart display.

The heading of the display will assume the name of the assigned
parameter and the association will be completed. From then on, as
said, the smart display will work as an alias of the assigned
parameter.

To cancel an assignment while it is in progress (hence after the ctrl-

drag start), just drop the parameter control out of the six smart
displays area.

Where Smart Displays associations get saved

BREVERB maintains an independent set of Smart Display associations for each algorithm. This means that when you select a
certain algorithm (from the algorithms drop-down list or when loading a preset) you will see the same Smart Display
parameter associations.
The Preferences panel includes an option to restore all associations for all algorithms to the factory settings.

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SMART FADERS VIEW

BREVERB’s user interface has two alternative layouts: Compact View and Smart Faders View. You
can switch the views clicking the gray round button with a black arrow under the first smart
display.

The six Smart Faders make it easy to quantify the current values shown by the Smart Displays. Of
course these faders also allow to adjust the associated values by dragging their cursors up and
down.

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PARAMETER AND MIDI AUTOMATION

The six Smart Faders respond to automation events and MIDI CC (control change) messages.
You can, for example, use an automation track or an hardware MIDI controller to operate
BREVERB faders and its main parameters.

MIDI
BREVERB supports MIDI CC messages mainly for the standalone usage: when you have an
external MIDI controller and want to use it as a remote control.

Parameter MIDI CC # Automation

Input level 30 NO

Dry level 31 YES

Wet level 91 YES

Fader 1 32 YES

Fader 2 33 YES

Fader 3 34 YES

Fader 4 35 YES

Fader 5 36 YES

Fader 6 37 YES

When you work with the standalone version of BREVERB, the caption of the main window has a
button on its left hand side: Options. Clicking that button you’ll see the Audio Settings panel which is
where you can set the audio and MIDI options.

One option, in particular, is the list labeled Active MIDI inputs which allows to see how many MIDI
devices have been detected by BREVERB and to select those to be enabled as MIDI CC sources.
The contents of that list depends on the current setup of your system. If no MIDI devices have
been configured the list will appear empty.
Please note that the MIDI channel is ignored: BREVERB works in MIDI Omni mode.

When running as a plugin, the MIDI implementation is more difficult to set up: very few host
applications do support MIDI message routings and some do that in a very articulated manner. It
is strongly advised to rather choose to use the Parameter Automation: it’s more commonly
implemented, more easy to use and, what’s more, the parameter values get managed in a better
way as they are processed as floating point numbers instead of standard 0-127 MIDI parameter
scaling.

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PARAMETER AUTOMATION
To learn how to create and edit a parameter automation track, you should refer to the host
application user manual.

In general you have to add BREVERB as an Insert Effect (look at mixer channel strip options or at
audio track’s extended commands), then add an automation to that track. Host applications
supporting automation spot an “Add automations” command for this purpose.

You should then see a list of parameters to automate grouped by owner (where the owner is the
plug-in implementing those parameters).

Therefore in your host application you’ll probably see something like:

Add automations

▸ Other effects...

▾ BREVERB 2

▢ Dry

▢ Wet

▢ Fader 1

▢ Fader 2

▢ Fader 3

▢ Fader 4

▢ Fader 5

▢ Fader 6

You can see how BREVERB 2 is the owner of the eight aforementioned parameters.

When you add an automation, the host application creates a special track for the automated
parameter. There you can graphically control the value of the parameter by editing the height of
a line (the Y-axis) over the timeline (the X-axis). Where the parameter value is constant the line is
horizontal.

Host applications usually allow to interactively draw the graphic segments which describe how
an automated parameter value moves over the time. Some more sophisticated ones even allow
you to record the live movements of a knob or fader and then still let you graphically edit the
resulting curve.

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PREFERENCES
Clicking the Preferences button on the main interface, the preferences panel will appear. Here you
can set some options and restore some factory settings of BREVERB.

Ask confirmation when losing unsaved changes

Deactivating this option BREVERB won’t ask for confirmation when you are about to lose
unsaved changes, for example when you load a new preset after having edited the current one.

Don’t change IN, DRY, and WET upon preset loading

IN, DRY and WET levels always get saved with presets. Activate this option if you have set these
levels on the interface and want BREVERB not to restore their values when loading a preset.

Restore Smart Faders factory associations

Click this button if you want to restore the factory associations for the six Smart Faders. Each
algorithm has its own set of associations, this command will initialize all sets.

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Restore factory presets

Click this button if you want to restore all BREVERB original factory presets.

Authorize / Deauthorize
The authorization system of Overloud products also allows to deauthorize them on a computer.
and reauthorize on a separate one. This is useful when you are about to format or change your
hard drive and don’t want to lose one of the allowed authorizations.

When you run an Overloud product unauthorized it will prompt you for the authorization.

Refer to our website www.overloud.com to see how to authorize and for any possible support
request.

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BREVERB PARAMETERS
Here following you can find a description for all the parameters of BREVERB.
We warmly recommend to read this chapter to learn all BREVERB functionalities.

Some groups (sections) of parameters are common to all BREVERB algorithms. You will find those
sections described once at the beginning of the chapter. Next we will see all custom pages of
parameters for each algorithm.

MASTER SECTION

PARAMETER UNIT DESCRIPTION

In Level dB Determines the global input level of BREVERB. Its action is prior to
the input level meter.
Dry Level dB The level of the direct unprocessed sound. It is typically set to -∞
when the reverb is used on an auxiliary bus. When used in an
insert, gradually lowering this parameter can give the idea of a
more distant sound.
Wet Level dB Adjusts the amount of processed signal (the reverberation)
present in the output of BREVERB.
Dry L Pan Sets the pan position of the left input channel fed into the output
mix.
Dry R Pan Sets the pan position of the right input channel fed into the
output mix. In combination with Dry L Pan, it can be used to control
the stereo width of the Dry signal. For example, the Dry can be
made mono by setting both these two parameters to the mid
position. The stereo image can also be inverted by setting the Dry
L Pan to right and the Dry R Pan to left.
Wet L Pan Sets the pan position of the reverberated right channel fed into
the output mix.
Wet R Pan Sets the pan position of the reverberated right channel fed into
the output mix. In combination with Wet L Pan, it can be used to
control the stereo width of the reverb. For example, the Wet
channel can be made mono by setting both these two
parameters to the mid position. The reverb stereo image can be
inverted by setting the Wet L Pan to the right and Wet R Pan to the
left.

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EQ SECTION

PARAMETER UNIT DESCRIPTION

EQ1 Gain dB Sets the gain for the EQ band 1.

EQ1 Freq Hz Sets the center frequency for EQ band 1.
EQ1 Q 1/octave Normally it sets the width of the bell-shaped curve for EQ band 1,
but at its extreme settings it will turn into something completely
different. In fact, setting this parameter to its minimum value will
transform the EQ into a Second Order Low Shelf; while setting the
parameter to its maximum value will transform the EQ into a
High-Pass Filter with a 12 dB/oct slope (the EQ1 Gain parameter will
not have any effect in this case).
EQ2 Gain dB Sets the gain for the EQ band 2.
EQ2 Freq Hz Sets the center frequency for EQ band 2.
EQ2 Q 1/octave Normally it sets the width of the bell-shaped curve for EQ band 2,
but at its extreme settings it will turn into something completely
different. In fact, setting this parameter to its minimum value will
transform the EQ into a Second Order Low Shelf; while setting the
parameter to its maximum value will transform the EQ into a
High-Pass Filter with a 12 dB/oct slope (the EQ2 Gain parameter will
not have any effect in this case).

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GATE SECTION

PARAMETER UNIT DESCRIPTION

Threshold dB Sets the limit level: when the level goes under this value the gate
is open (no reverb sound is passing through the gate). An
automatic close threshold is also featured: BREVERB sets it
automatically after an analysis of the incoming signal content.
Attack Time Sec Sets the time needed by the gate to switch from closed (active) to
open (non active).
Hold Time Sec /♪ Sets the amount of time the gate will remain open (non active)
regardless of the input level and the Threshold setting. If the note
symbol is on (click it to switch), the time is synced with the current
BPM.
Release Time Sec /♪ Sets the time it takes for the gate to close completely following
the shape set with the next two parameters. If the note symbol is
on (click it to switch), the time is synced with the current BPM.
Shape Can be Linear or Sigma. This parameter allows to shape the
attenuation curve. Linear causes BREVERB to follow a perfectly
linear attenuation path during the Release Time phase. Sigma, on
the other hand, stands for a more complex curve to be followed,
with rounded starting and ending and an adjustable slope. This
really gives you a lot of control over the way the gate closes. The
final effect of these two kinds of curve really depends on the
processed sound and on the effect we want to achieve.
Slope % When the Shape is set to Sigma, this parameter controls the slope of
the ‘S’ curve. Higher values mean a steeper curve.

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HALL REVERB

HALL - Main

PARAMETER UNIT DESCRIPTION

Time Sec Sets the duration of the reverberation tail. It’s also influenced by
the Size parameter.
Size % Sets the apparent size of the hall emulated by the algorithm.
Should be set coherently with the Time parameter: you can
emulate a large hall (higher values for Size) with a short
reverberation time (e.g. a cinema hall) or with a longer time (e.g. a
church), but it’s improbable to have a small hall with a long
reverberation time, unless you are seeking for a more creative
effect.
Diffusion % Controls the degree to which the initial echo density increases
over the time.
Shape % Works together with Spread to control the overall ambience of the
reverberation created by BREVERB. It specifically determines the
contour of the reverberation envelope. With Shape all the way
down, the reverberation builds explosively and decays very
quickly. As Shape value is raised, the reverberation builds up more
slowly and sustains for the time set by Spread.
Spread % Controls the duration of the initial contour of the reverberation
envelope. Lower Spread settings result in a rapid onset of
reverberation at the beginning of the envelope, with little or no
sustain, while higher settings spread out both the build-up and
sustain.

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HALL - Pre

PARAMETER UNIT DESCRIPTION

Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. It can be used to create a sense of
distance and volume within an acoustic space. If the note symbol
is on (click it to switch), the time is synced with the current BPM.
Regen L % Controls the amount of left channel input signal which is
recirculated into the predelay delay line. This parameter can be
used to obtain a longer reverberation time with a more echoing
tone.
Regen R % Same as Regen L but referred to the right channel.
Motion % Sets the speed of modulation of the delay lines.
Depth % Sets the amount of modulation of the delay lines in the reverb.
Together with the Motion parameter it can be used to make the
reverb tail sound more dynamic, unpredictable, rich and to
remove any possible resonance or metallic ringing. Motion and
Depth should be used carefully with solo instruments like pianos,
woodwinds or saxophones to avoid chorusing effects. They can
be used more with aggressive settings on percussive tones,
guitars and mixes.

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HALL - Freq

PARAMETER UNIT DESCRIPTION

High x Sets the reverberation time of the high frequencies relative to the
master reverberation time. It is expressed as a time multiplier. For
example: setting High to 0.600 x means that the reverberation
time of the high frequencies is 0.600 times shorter than the
master reverberation time
High Freq Hz Crossover frequency which defines the high frequencies.
Damping Hz Real environments tend to attenuate the high frequencies due to
the damping factors of the materials the walls are made of or of
the objects in the room which mostly absorb high frequencies.
The Damping parameter controls the amount of this absorption
and can be used to simulate different types of hall padding.
Low x Sets the reverberation time of the low frequencies relative to the
master reverberation time. It is expressed as a time multiplier. For
example: setting Low to 1.80 x means that the reverberation time
of the low frequencies is 1.80 times longer than the master
reverberation time.
Low Freq Hz Crossover frequency which defines the low frequencies
Low Cut Hz Sets the cut-off frequency under which the tone is not
reverberated. It can be used to avoid rumbling in the low
frequencies depending on the source material.

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PLATE REVERB

PLATE - Main

PARAMETER UNIT DESCRIPTION

Time Sec Sets the duration of the reverberation tail. It’s also influenced by
the Size parameter.
Size % Sets the apparent size of the plate emulated by the algorithm.
Should be set coherently with the Time parameter: you can
emulate a large plate (higher values for Size) with a short
reverberation time or with a longer time, but it’s improbable to
have a small plate with a long reverberation time, unless you are
seeking for a more creative effect.
Diffusion % Controls the degree to which the initial echo density increases
over the time.
Shape % Controls the overall ambience of the reverberation created by
BREVERB. It specifically determines the contour of the
reverberation envelope. With Shape all the way down, the
reverberation builds explosively and decays very quickly. As Shape
value is raised, the reverberation builds up more slowly.

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PLATE - Pre

PARAMETER UNIT DESCRIPTION

Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. It can be used to create a sense of
distance and volume within an acoustic space. If the note symbol
is on (click it to switch), the time is synced with the current BPM.
Motion % Sets the speed of modulation of the delay lines.
Regen % Controls the amount of input signal which is recirculated into the
predelay delay line.
This parameter can be used to obtain a longer reverberation time
with a more echoing tone.

PLATE - Freq

PARAMETER UNIT DESCRIPTION

High x Sets the reverberation time of the high frequencies relative to the
master reverberation time. It is expressed as a time multiplier. For
example: setting High to 0.600 x means that the reverberation
time of the high frequencies is 0.600 times shorter than the
master reverberation time
High Freq Hz Crossover frequency which defines the high frequencies.
Damping Hz Depending on the age and material of the plate in the reverb unit,
the tail will be gradually attenuated in the high frequencies. The
Damping parameter controls the amount of this attenuation and
can be used to simulate different kinds of plates.
Low x Sets the reverberation time of the low frequencies relative to the
master reverberation time. It is expressed as a time multiplier. For
example: setting Low to 1.80 x means that the reverberation time
of the low frequencies is 1.80 times longer than the master
reverberation time.
Low Freq Hz Crossover frequency which defines the low frequencies

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ROOM REVERB

ROOM - Main

PARAMETER UNIT DESCRIPTION

Time Sec Sets the duration of the reverberation tail. It’s also influenced by
the Size parameter.
Size % Sets the apparent size of the acoustic space being emulated by
the algorithm. Values from minimum to half way up are typical
when simulating the ambience of a recording studio.
Diffusion % Controls the degree to which the initial echo density increases
over the time.
Decay % Balances between the late reverberation and the early reflections.
When Decay is at minimum, only the early reflections are present;
when increasing it. the late reverberation is gradually added.

ROOM - Mod

PARAMETER UNIT DESCRIPTION

Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. It can be used to create a sense of
distance and volume within an acoustic space. If the note symbol
is on (click it to switch), the time is synced with the current BPM.
Motion % Sets the speed of modulation of the delay lines.
Depth % Sets the amount of modulation of the delay lines in the reverb.
Together with the Motion parameter it can be used to make the
reverb tail sound more dynamic, unpredictable, rich and to
remove any possible resonance or metallic ringing. Motion and
Depth should be used carefully with solo instruments like pianos,
woodwinds or saxophones to avoid chorusing effects. They can
be used more with aggressive settings on percussive tones,
guitars and mixes.

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ROOM - Freq

PARAMETER UNIT DESCRIPTION

High Hz Sets the frequency over which the reverberation is attenuated.

High and Low parameters can be used to tweak the frequency
response of a room.
Damping Hz Depending on the age and material of the plate in the reverb unit,
the tail will be gradually attenuated in the high frequencies. The
Damping parameter controls the amount of this attenuation and
can be used to simulate different kinds of room padding.
Low Hz Sets the frequency under which the reverberation is attenuated.

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INVERSE REVERB

INVERSE - Main

PARAMETER UNIT DESCRIPTION

Time Sec Sets the duration of the reverberation. This time, added to the
Predelay time, is the time that elapses from the direct sound to the
end of the reverberation.
Diffusion % Controls the degree to which the initial echo density increases
over the time.
Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. If the note symbol is on (click it to
switch), the time is synced with the current BPM.
Motion % Sets the speed of modulation of the delay lines.
Depth % Sets the amount of modulation of the delay lines in the reverb.
Together with the Motion parameter it can be used to make the
reverb tail sound more dynamic, unpredictable, rich and to
remove any possible resonance or metallic ringing.

INVERSE - Freq

PARAMETER UNIT DESCRIPTION

High Hz Sets the frequency over

Low Hz Sets the frequency over which the reverberation is attenuated.
Low and High parameters can be used to tweak the frequency
response of the reverb.

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SPACES SMALL REVERB

SPACES SMALL - Main

PARAMETER UNIT DESCRIPTION

Space Select the space to emulate: Studio, Tight, Booth, Fast.

Time Sec Sets the duration of the reverberation. This time, added to the
Predelay time, is the time that elapses from the direct sound to the
end of the reverberation.
Reverb Delay Sec Adds a delay between the early reflections and the onset of the
diffuse portion of the reverb.
Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. If the note symbol is on (click it to
switch), the time is synced with the current BPM.
Early Level dB Sets the level of the early reflections. When set to -∞ the effect will
only consist of the reverb tail.
Reverb Level dB Sets the level of the diffuse portion of the reverb. When set to -∞
the effect will only consist of the early reflections.

SPACES SMALL - Early

PARAMETER UNIT DESCRIPTION

Early Type Select the kind of typical early reflections. Several options are
available. Choose the one that best fits your space or best allows
you to achieve the effect you are looking for.
Early Color Adjusts the perceived color of the early reflections acting on their
higher frequencies.
Early Size Changes the size of the early reflections chosen with Early Type.

Early Low Cut Hz Sets the low cut frequency for the early reflections.
Early Balance % Sets the left/right balance of the early reflections allowing to
offset them from the usual center position. The parameter ranges
from -100% (left) to +100% (right) with central position at 0%.

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SPACES SMALL - Reverb

PARAMETER UNIT DESCRIPTION

Diffusion % Controls the degree to which the initial echo density increases
over the time.
Low Cut Hz Sets the cut-off frequency under which the tone is not
reverberated. It can be used to avoid rumbling in the low
frequencies depending on the source material. The cut of
frequencies is done accordingly to the Low Damp parameter.
Low Damp dB Sets the depth of the frequencies cut (see Low Cut) in dB.
High Cut Hz Cuts away the higher frequencies of the input signal. You can use
it together with High Soften to adjust the “darkness” of the space.
High Soften Controls a specific set of filters designed to soften the high
frequencies and remove crisp or sharp frequencies from the
sound of the reverb. This parameter is intended to be used
together with High Cut.

SPACES SMALL - Time

The Time page has a special interactive display allowing visually to set multiple parameters at
same time accordingly to each other. The whole 20-20k frequency spectrum is subdivided into 4
bands. For each band you can specify a value of time - expressed as a multiplier for the main Time
parameter of the algorithm - and its starting/ending frequency (excluding the extremes which
remain to 20 Hz and 20 kHz respectively).

Dragging an horizontal segment up

or down, you will adjust the
corresponding time multiplier, while
dragging a vertical segment on your
left or right, you will change the
frequency between the ending of a
band and the beginning of the next
one. You can even adjust up to three
parameters at once by dragging the
small dots marking the segment
crossings.

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SPACES LARGE REVERB

SPACES LARGE - Main

PARAMETER UNIT DESCRIPTION

Space Select the space to emulate: Natural, Alive, Smooth, Open.

Time Sec Sets the duration of the reverberation. This time, added to the
Predelay time, is the time that elapses from the direct sound to the
end of the reverberation.
Reverb Delay Sec Adds a delay between the early reflections and the onset of the
diffuse portion of the reverb.
Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. If the note symbol is on (click it to
switch), the time is synced with the current BPM.
Early Level dB Sets the level of the early reflections. When set to -∞ the effect will
only consist of the reverb tail.
Reverb Level dB Sets the level of the diffuse portion of the reverb. When set to -∞
the effect will only consist of the early reflections.

SPACES LARGE - Early

PARAMETER UNIT DESCRIPTION

Early Type Select the kind of typical early reflections. Several options are
available. Choose the one that best fits your space or best allows
you to achieve the effect you are looking for.
Early Color Adjusts the perceived color of the early reflections acting on their
higher frequencies.
Early Size Changes the size of the early reflections chosen with Early Type.

Early Low Cut Hz Sets the low cut frequency for the early reflections.
Early Balance % Sets the left/right balance of the early reflections allowing to
offset them from the usual center position. The parameter ranges
from -100% (left) to +100% (right) with central position at 0%.

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SPACES LARGE - Reverb

PARAMETER UNIT DESCRIPTION

Diffusion % Controls the degree to which the initial echo density increases
over the time.
Low Cut Hz Sets the cut-off frequency under which the tone is not
reverberated. It can be used to avoid rumbling in the low
frequencies depending on the source material. The cut of
frequencies is done accordingly to the Low Damp parameter.
Low Damp dB Sets the depth of the frequencies cut (see Low Cut) in dB.
High Cut Hz Cuts away the higher frequencies of the input signal. You can use
it together with High Soften to adjust the “darkness” of the space.
High Soften Controls a specific set of filters designed to soften the high
frequencies and remove crisp or sharp frequencies from the
sound of the reverb. This parameter is intended to be used
together with High Cut.

SPACES LARGE - Time

The Time page has a special interactive display allowing to visually set multiple parameters at
same time accordingly to each other. The whole 20-20k frequency spectrum is subdivided into 4
bands. For each band you can specify a value of time - expressed as a multiplier for the main Time
parameter of the algorithm - and its starting/ending frequency (excluding the extremes which
remain to 20 Hz and 20 kHz respectively).

Dragging an horizontal segment up

or down, you will adjust the
corresponding time multiplier, while
dragging a vertical segment on your
left or right you will change the
frequency between the ending of a
band and the beginning of the next
one. You can even adjust up to three
parameters at once by dragging the
small dots marking the segment
crossings.

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SOURCE REVERB

SOURCE - Main

PARAMETER UNIT DESCRIPTION

Space Select the ambient space to emulate. The way the early reflections
and reverb are processed slightly change when switching this
parameter.
Time Sec Sets the duration of the reverberation. This time, added to the
Predelay time, is the time that elapses from the direct sound to the
end of the reverberation.
Predelay Sec /♪ Sets the amount of time elapsing between the input signal and
the onset of reverberation. If the note symbol is on (click it to
switch), the time is synced with the current BPM.
Early Level dB Sets the level of the early reflections of the ambient space. When
set to -∞ the effect will only consist of the reverb tail.
Reverb Level dB Sets the level of the diffuse portion of the reverb of the ambient
space. When set to -∞ the effect will only consist of the early
reflections.

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SOURCE - Early
The Early page has a special interactive display allowing to visually adjust the position of the
single or a couple of sources (single if BREVERB is working on a mono input, a couple if the input
is stereo).

To change the position of the source

onto the stereo front just drag the
‘S’ (source)circle over the concentric
arcs and find the location that best
fits your needs.

Src1 Level and Src2 Level parameters

adjust the prevalence of one source
over the other. This is useful when
you make A/B comparisons to
evaluate how the individual sources
are contributing to the final sound.

A mono input (single source) appears as ‘S’ and is controlled by Src1 parameters. A stereo input
(two sources) appear as ‘L’ (controlled by Src1 parameters) and ‘R’ (controlled by Src2 parameters).

What really happens when you move your source away from the listener
In acoustic terms, when you move a source away inside an ambient space (say backwards in front of you), you will hear that
the direct sound gets lowered and that the ambient space reverb, made of early reflections and reverb diffusion, gradually
increase its prevalence. Traducing this natural effect into BREVERB would mean to automatically reduce the Dry level while
the source is getting positioned at more distant locations. However this could not be that good if we want to keep the Dry
level constant at the value initially set. Therefore, BREVERB will maintain the right balance between the dry and the
processed signals by gradually raising the early reflections and reverb diffusion levels according to the distance of the
source. The counterintuitive effect will be that moving a source away from the listener, the source global level will seem to
increase. This is by design to let BREVERB to keep the Dry level at the exact value set by the user.

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SOURCE - Early2

PARAMETER UNIT DESCRIPTION

Early Low Color Adjusts the low color of the early reflections.

Early High Color Adjusts the high color of the early reflections.

Early Start Sets an initial waiting time to discard first early reflections. This is
an efficient way not to color the source too much with the first
reflections. Later reflection timing and processing remain
untouched.
Early Stop This parameter can control the later reflections in the early
reflection processing. With large ambient spaces this parameter
can be useful to smooth the perception of the room.
Early Decrease BREVERB reproduces early reflections to a very high order, where
each order is the count of how many surfaces the reflections have
hit before coming to the listener. Attenuating particular orders of
reflections can help to optimize the natural response of certain
ambient spaces also accordingly to the microphone placement.

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SOURCE - Reverb

PARAMETER UNIT DESCRIPTION

Size % Sets the apparent size of the ambient space emulated by the
algorithm. You usually would adjust the perceived size of the
ambient space with the Time parameter in the Main page, however
with the Size parameter you can achieve a similar perception of
how the room size changes while keeping the reverb time
constant.
Diffusion % Adjusts the amount of diffusion that the selected ambient space
should have. An internal value for the diffusion is determined
when you change the type of space. This parameter allows you to
vary the diffusion around the internal setting.
Low Cut Hz Sets the cut-off frequency under which the tone is not
reverberated. It can be used to avoid rumbling in the low
frequencies depending on the source material. The cut of
frequencies is done accordingly to the Low Damp parameter.
Low Damp dB Sets the depth of the frequencies cut (see Low Cut) in dB.
High Cut Hz Cuts away the higher frequencies of the input signal. You can use
it together with High Soften to adjust the “darkness” of the space.
High Soften Controls a specific set of filters designed to soften the high
frequencies and remove crisp or sharp frequencies from the
sound of the reverb. This parameter is intended to be used
together with High Cut.

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