Kurzweil Music Systems Rumour, Mangler Reference Manual

Rumour and Mangler

Algorithm Reference

©2003 All rights reserved. Kurzweil is a product line of Young Chang Co. Kurzweil,
Rumour, Mangler, KSP8, KDFX,
Co. All other products and brand names are trademarks or registered trademarks of their
respective companies. Product features and specifications are subject to change without
notice.

You may legally print up to two (2) copies of this document for personal use. Commercial
use of any copies of this document is prohibited. Young Chang Co. retains ownership of all
intellectual property represented by this document.

LaserVerb , and Pitcher are trademarks of Young Chang

Part Number: 910394

!

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

CAUTION: TO REDUCE THE RISK OF
ELECTRIC SHOCK, DO NOT REMOVE
THE COVER. NO USER-SERVICEABLE
PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.

THIS PRODUCT IS INTENDED FOR
INDOOR USE ONLY.

IMPORTANT SAFETY & INSTALLATION INSTRUCTIONS

INSTRUCTIONS PERTAINING TO THE RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS

WARNING: When using electric products, basic precautions should

always be followed, including the following:

1. Read all of the Safety and Installation Instructions and Explanation
of Graphic Symbols before using the product.

2. Do not use this product near water—for example, near a bathtub,
washbowl, kitchen sink, in a wet basement, or near a swimming
pool, or the like.

3. This product should be used only with a stand or cart that is
recommended by the manufacturer.

4. This product, either alone or in combination with an amplifier and
speakers or headphones, may be capable of producing sound
levels that could cause permanent hearing loss. Do not operate for
a long period of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or ringing in the
ears, you should consult an audiologist.

5. The product should be located so that its location or position does
not interfere with its proper ventilation.

6. The product should be located away from heat sources such as
radiators, heat registers, or other products that produce heat.

7. The product should be connected to a power supply only of the type
described in the operating instructions or as marked on the product.

8. This product may be equipped with a polarized line plug (one blade
wider than the other). This is a safety feature. If you are unable to
insert the plug into the outlet, contact an electrician to replace your
obsolete outlet. Do not defeat the safety purpose of the plug.

The exclamation point within an equilateral
triangle is intended to alert the user to the
presence of important operating and

!

maintenance (servicing) instructions in
the literature accompanying the product.

The lightning flash/arrowhead symbol within
an equilateral triangle is intended to alert the
user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, which
may be of sufficient magnitude to constitute a
risk of electric shock to persons.

9. The power supply cord of the product should be unplugged from the
outlet when left unused for a long period of time. When unplugging
the power supply cord, do not pull on the cord, but grasp it by the
plug.

10. Care should be taken so that objects do not fall and liquids are not
spilled into the enclosure through openings.

11. The product should be serviced by qualified service personnel
when:

A. The power supply cord or the plug has been damaged;

B. Objects have fallen onto, or liquid has been spilled into the

product;

C. The product has been exposed to rain;

D. The product does not appear to be operating normally or

exhibits a marked change in performance;

E. The product has been dropped, or the enclosure damaged.

12. Do not attempt to service the product beyond that described in the
user maintenance instructions. All other servicing should be
referred to qualified service personnel.

13. WARNING: Do not place objects on the product’s power supply
cord, or place the product in a position where anyone could trip
over, walk on, or roll anything over cords of any type. Do not allow
the product to rest on or be installed over cords of any type.
Improper installations of this type create the possibility of a fire
hazard and/or personal injury.

The symbol of a house with
an arrow pointing inside
is intended to alert the user
that the product is to
be used indoors only.

RADIO AND TELEVISION INTERFERENCE

WARNING: Changes or modifications to this instrument not expressly

approved by Young Chang could void your authority to operate the
instrument.

IMPORTANT: When connecting this product to accessories and/or other

equipment use only high quality shielded cables.

NOTE: This instrument has been tested and found to comply with the

limits for a Class A digital device, pursuant to Part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against
harmful interference when the instrument is used in a commercial
environment. This instrument generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the
instruction manual, may cause harmful interference to radio
communications. Operation of this instrument in a residential area is
likely to cause harmful interference, in which case the user will be
required to correct the interference at his or her own expense.

Changes and modifications not expressly approved by the manufacturer

SAVE THESE INSTRUCTIONS

2

or registrant of this instrument can void the user’s authority to operate
this instrument under Federal Communications Commission rules.

In order to maintain compliance with FCC regulations, shielded cables
must be used with this instrument. Operation with unapproved
equipment or unshielded cables is likely to result in harmful interference
to radio and television reception.

NOTICE

This apparatus does not exceed the Class A limits for radio noise
emissions from digital apparatus set out in the Radio Interference
Regulations of the Canadian Department of Communications.

AVIS

Le present appareil numerique n’emet pas de bruits radioelectriques
depassant les limites applicables aux appareils numeriques de la
class A prescrites dans le Reglement sur le brouillage radioelectrique
edicte par le ministere des Communications du Canada.

Young Chang Contacts

Contact the nearest Young Chang office listed below to locate your local Young Chang/ Kurzweil representative.

Young Chang America, Inc.

P.O. Box 99995
Lakewood, WA 98499-0995
Tel: [phone]
Fax: [phone]

Young Chang Co., Ltd.

178-55 Gajwa-Dong
Seo-Ku, Inchon, Korea 404-714
Tel: [phone]
Fax: [phone]

Young Chang America, Inc. (Canadian Division)

3650 Victoria Park Ave. Suite 105
Toronto, Ontario Canada M2H 3P7
Tel: [phone]
Fax: [phone]

World Wide Web Home Page

http://www.kurzweilmusicsystems.com

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Algorithm Reference Contents

• Algorithms Listed by ID . . . . . . . . . . . . . . . . . . . . . . . . . 5

• Algorithms Listed by Name . . . . . . . . . . . . . . . . . . . . . . 7

• Algorithm Specifications . . . . . . . . . . . . . . . . . . . . . . . . 9

MiniVerbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Combination Reverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Vocal Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . 47

More Reverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Delays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Choruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Flangers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Phasers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Comb Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Tremolo Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Panners and Stereo-Image Effects . . . . . . . . . . . . . . . . . . . 126

Guitar Cabinet Simulators . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Rotary Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Distortion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Guitar Combination Algorithms . . . . . . . . . . . . . . . . . . . . . 173

Compressors and Expanders . . . . . . . . . . . . . . . . . . . . . . . 191

Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

EQs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Miscellaneous Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Enhancers, Suppressors, and Modulators. . . . . . . . . . . . . 241

Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Configurable Combination Algorithms. . . . . . . . . . . . . . . . 289

More Combination Algorithms . . . . . . . . . . . . . . . . . . . . . . 299

4

Algorithms Listed by ID

1

2

2

2

2

3

3

3

3

3

3

3

3

3

3

2

3

3

4

3

4

2

1

4

3

2

2

1

1

2

2

2

3

1

4

4

2

2

2

1

1

1

1

1

3

4

4

1

1

2

1

1

1

2

3

3

2

2

2

1

1

2

1

2

1

2

ID Name PAUs Page

1 MiniVerb

2 Dual MiniVerb

3 Gated MiniVerb

4 Classic Place

5 Classic Verb

6 TQ Place

7 TQ Verb

8 Diffuse Place

9 Diffuse Verb

10 OmniPlace

11 OmniVerb

12 Panaural Room

13 Stereo Hall

14 Grand Plate

15 Finite Verb

50 Reverb+Compress

51 Reverb<>Compress

52 ClascVrb<>Comprs

53 Gate+Cmp[EQ]+Rvb

54 Gate+Cmp<>EQ+Rvb

100 LaserVerb

101 LaserVerb Lite

102 Mono LaserVerb

103 Revrse LaserVerb

104 Gated LaserVerb

105 LasrDly<>Reverb

106 LasrDly<>Rvrb ms

150 4-Tap Delay BPM

151 4-Tap Delay

152 8-Tap Delay BPM

153 8-Tap Delay

154 Spectral 4-Tap

155 Spectral 6-Tap

156 Complex Echo

168 Degen Regen LFX

169 DegenRegenBPMLF

172 Switch Loops

173 3 Band Delay

174 Gated Delay

190 Moving Delay

191 Dual MovDelay

192 Dual MvDly+MvDly

204 Dual Chorus 1 LFX

205 Dual Chorus 2 LFX

225 Flanger 1

104

ID Name PAUs Page

9

9

13

16

16

16

16

16

16

16

16

29

32

35

37

39

39

43

47

47

53

53

53

56

59

62

63

64

64

68

68

72

72

77

80

80

85

88

90

93

94

94

98

98

226 Flanger 2

250 LFO Phaser

251 LFOPhaserTwinLFX

253 SingleLFO Phaser

254 VibratoPhaser

255 Manual Phaser

256 Allpass Phaser 3

257 Allpass Phaser 4

258 Barberpole Comb

270 Tremolo BPM

271 Tremolo

276 Dual AutoPanner

279 AutoPanner BPM

280 Stereo Image

281 Mono -> Stereo

282 DynamicStereoize

284 Cabinet

285 Cabinet+Dly+Rvrb

290 VibChor+Rotor 2

291 Distort + Rotary

292 VC+Dist+HiLoRotr

293 VC+Dist+1Rotor 2 2 139

294 VC+Dist+HiLoRot2 2 139

295 Rotor 1 1 139

296 VC+Dist+Rotor 4 4 139

297 VC+Tube+Rotor 4 4 139

298 Big KB3 Effect 8 139

300 Mono Distortion 1 153

301 MonoDistort+Cab 2 153

302 MonoDistort + EQ 2 153

303 PolyDistort + EQ 2 158

304 StereoDistort+EQ 3 153

305 Subtle Distort 1 162

306 Super Shaper 1 163

307 3 Band Shaper 2 164

308 Quantize+Alias 1 165

309 Quantize+Flange 1 169

310 Gate+TubeAmp 3 173

311 Gate+Tube+Reverb 4 173

312 Gt+Tube<>MD+Chor 4 173

313 Gt+Tube<>MD+Flan 4 173

314 Gt+Tube<>2MD 4 173

315 Gt+Cmp+Dst+EQ+Ch 4 173

316 Gt+Cmp+Dst+EQ+Fl 4 173

323 TubeAmp<>MDBP>Ch 3 184

324 TubeAmp<>MDBP>Fl 3 184

104

111

111

111

111

111

117

117

120

123

123

128

126

130

132

134

138

173

139

139

139

5

ID Name PAUs Page

325 PolyAmp<>MDBP>Ch 3 184

326 PolyAmp<>MDBP>Fl 3 184

327 Tube+Reverb 3 173

321 Flange<>Shaper 2 189

322 Shaper<>Reverb 2 190

330 HardKneeCompress 1 191

331 SoftKneeCompress 1 191

332 Compress w/SC EQ 2 194

333 Opto Compress 2 197

334 Opto Comprs SCEQ 3 197

335 Band Compress 3 201

336 3 Band Compress 4 205

340 Expander 1 209

341 Compress/Expand 2 212

342 Comp/Exp + EQ 3 212

343 Gate 1 217

345 Gate w/SC EQ LFX 2 212

347 Dual SKCompress 2 191

348 Dual Comprs SCEQ 3 194

349 Dual 3 Band Comp 8 205

350 3 Band EQ 1 222

351 5 Band EQ 3 222

352 Graphic EQ 3 225

353 Dual Graphic EQ 3 225

354 Dual 5 Band EQ 3 222

360 Env Follow Filt 2 228

361 TrigEnvelopeFilt 2 230

362 LFO Sweep Filter 2 233

363 Resonant Filter 1 236

364 Dual Res Filter 1 236

365 EQ Morpher 4 238

366 Mono EQ Morpher 2 238

370 2 Band Enhancer 1 241

371 3 Band Enhancer 2 243

372 HF Stimulate 1 1 245

373 HF Stimulate 3 3 245

374 HarmonicSuppress 2 247

375 Tone Suppressor 2 247

380 Ring Modulator 1 252

381 Pitcher 1 256

382 Poly Pitcher 2 260

383 Pitcher+MiniVerb 2 262

384 Flange<>Pitcher 2 265

385 Frequency Offset 2 266

386 MutualFreqOffset 2 266

387 WackedPitchLFO 3 270

390 Chaos! 2 272

393 Gate Synth 3 275

400 Chorus+Delay 1 279

401 Chorus+4Tap 1 279

402 Chorus<>4Tap 2 289

ID Name PAUs Page

408 StChor+Dly+RvrbL 2 279

404 Chorus<>Reverb 2 289

405 Chorus<>LasrDly 2 289

406 St Chorus+Delay 1 299

407 St Chorus+4Tap 1 299

408 StChor+Dly+RvrbL 2 299

409 Pitcher+Chor+Dly 2 279

410 Pitch+StChor+Dly 2 299

411 MonoPitcher+Chor 2 285

412 MonoPitch+StChor 2 299

420 Chorus+Delay ms 1 299

421 Chorus+4Tap ms 1 299

422 Chorus<>4Tap ms 2 299

423 Chor+Dly+Rvrb ms 2 299

425 Chor<>LasrDly ms 2 299

426 St Chor+Delay ms 1 299

427 St Chor+4Tap ms 1 299

428 StCh+Dly+Rvrb ms 2 299

429 Ptch+Chor+Dly ms 2 299

430 Ptch+StCh+Dly ms 2 299

450 Flange+Delay 1 279

451 Flange+4Tap 1 279

452 Flange<>4Tap 2 289

458 StFlan+Dly+RvrbL 2 279

454 Flange<>Reverb 2 289

455 Flange<>LasrDly 2 289

456 St Flange+Delay 1 299

457 St Flange+4Tap 1 299

458 StFlan+Dly+RvrbL 2 299

459 Pitcher+Flan+Dly 2 279

460 Pitch+StFlan+Dly 2 299

461 MonoPitcher+Flan 2 285

470 Flange+Delay ms 1 299

471 Flange+4Tap ms 1 299

472 Flange<>4Tap ms 2 299

473 Flan+Dly+Rvrb ms 2 299

475 Flan<>LasrDly ms 2 299

476 St Flan+Delay ms 1 299

477 St Flan+4Tap ms 1 299

478 StFl+Dly+Rvrb ms 2 299

479 Ptch+Flan+Dly ms 2 299

480 Ptch+StFl+Dly ms 2 299

498 FXMod Diagnostic 1 301

499 Stereo Analyze 1 302

6

Algorithms Listed by Name

Name ID PAUs Page

2 Band Enhancer 370 1 241

3 Band Compress 336 4 205

3 Band Delay 173 2 88

3 Band Enhancer 371 2 243

3 Band EQ 350 1 222

3 Band Shaper 307 2 164

4-Tap Delay 151 1 64

4-Tap Delay BPM 150 1 64

5 Band EQ 351 3 222

8-Tap Delay 153 2 68

8-Tap Delay BPM 152 2 68

Allpass Phaser 3 256 3 117

Allpass Phaser 4 257 4 117

AutoPanner BPM 279 1 126

Band Compress 335 3 201

Barberpole Comb 258 4 120

Big KB3 Effect 298 8 139

Cabinet 284 3 138

Cabinet+Dly+Rvrb 285 3 173

Chaos! 390 2 272

StChor+Dly+RvrbL 408 2 279

Chor+Dly+Rvrb ms 423 2 299

Chor<>LasrDly ms 425 2 299

Chorus+4Tap 401 1 279

Chorus+4Tap ms 421 1 299

Chorus+Delay 400 1 279

Chorus+Delay ms 420 1 299

Chorus<>4Tap 402 2 289

Chorus<>4Tap ms 422 2 299

Chorus<>LasrDly 405 2 289

Chorus<>Reverb 404 2 289

ClascVrb<>Comprs 52 3 43

Classic Place 4 2 16

Classic Verb 5 2 16

Comp/Exp + EQ 342 3 212

Complex Echo 156 1 77

Compress w/SC EQ 332 2 194

Compress/Expand 341 2 212

Degen Regen LFX 168 4 80

DegenRegenBPMLF 168 4 80

Diffuse Place 8 3 16

Diffuse Verb 9 3 16

Distort + Rotary 291 2 139

Dual 3 Band Comp 349 8 205

Dual 5 Band EQ 354 3 222

Dual AutoPanner 276 2 128

Name ID PAUs Page

Dual Chorus 1 LFX 204 1 98

Dual Chorus 2 LFX 205 2 98

Dual Comprs SCEQ 348 3 194

Dual Graphic EQ 353 3 225

Dual MiniVerb 2 2 9

Dual MovDelay 191 1 94

Dual MvDly+MvDly 192 2 94

Dual Res Filter 364 1 236

Dual SKCompress 347 2 191

DynamicStereoize 282 2 134

Env Follow Filt 360 2 228

EQ Morpher 365 4 238

Expander 340 1 209

Finite Verb 15 3 37

StFlan+Dly+RvrbL 458 2 279

Flan+Dly+Rvrb ms 473 2 299

Flan<>LasrDly ms 475 2 299

Flange+4Tap 451 1 279

Flange+4Tap ms 471 1 299

Flange+Delay 450 1 279

Flange+Delay ms 470 1 299

Flange<>4Tap 452 2 289

Flange<>4Tap ms 472 2 299

Flange<>LasrDly 455 2 289

Flange<>Pitcher 384 2 265

Flange<>Reverb 454 2 289

Flange<>Shaper 321 2 189

Flanger 1 225 1 104

Flanger 2 226 2 104

Frequency Offset 385 2 266

FXMod Diagnostic 498 1 301

Gate 343 1 217

Gate Synth 393 3 275

Gate w/SC EQ LFX 342 2 212

Gate+Cmp<>EQ+Rvb 54 4 47

Gate+Cmp[EQ]+Rvb 53 4 47

Gate+Tube+Reverb 311 4 173

Gate+TubeAmp 310 3 173

Gated Delay 174 2 90

Gated LaserVerb 104 3 59

Gated MiniVerb 3 2 13

Grand Plate 14 3 35

Graphic EQ 352 3 225

Gt+Cmp+Dst+EQ+Ch 315 4 173

Gt+Cmp+Dst+EQ+Fl 316 4 173

Gt+Tube<>2MD 314 4 173

7

Name ID PAUs Page

Gt+Tube<>MD+Chor 312 4 173

Gt+Tube<>MD+Flan 313 4 173

HardKneeCompress 330 1 191

HarmonicSuppress 374 2 247

HF Stimulate 1 372 1 245

HF Stimulate 3 373 3 245

LaserVerb 100 3 53

LaserVerb Lite 101 2 53

LasrDly<>Reverb 105 2 62

LasrDly<>Rvrb ms 106 2 63

LFO Phaser 250 1 111

LFOPhaserTwinLFX 251 1 111

LFO Sweep Filter 362 2 233

Manual Phaser 255 1 111

MiniVerb 1 1 9

Mono -> Stereo 281 1 132

Mono Distortion 300 1 153

Mono EQ Morpher 366 2 238

Mono LaserVerb 102 1 53

MonoDistort + EQ 302 2 153

MonoDistort+Cab 301 2 153

MonoPitch+StChor 412 2 299

MonoPitcher+Chor 411 2 285

MonoPitcher+Flan 461 2 285

Moving Delay 190 1 93

MutualFreqOffset 386 2 266

OmniPlace 10 3 16

OmniVerb 11 3 16

Opto Compress 333 2 197

Opto Comprs SCEQ 334 3 197

Panaural Room 12 3 29

Pitch+StChor+Dly 410 2 299

Pitch+StFlan+Dly 460 2 299

Pitcher 381 1 256

Pitcher+Chor+Dly 409 2 279

Pitcher+Flan+Dly 459 2 279

Pitcher+MiniVerb 383 2 262

Poly Pitcher 382 2 260

PolyAmp<>MDBP>Ch 325 3 184

PolyAmp<>MDBP>Fl 326 3 184

PolyDistort + EQ 303 2 158

Ptch+Chor+Dly ms 429 2 299

Ptch+Flan+Dly ms 479 2 299

Ptch+StCh+Dly ms 430 2 299

Ptch+StFl+Dly ms 480 2 299

Quantize+Alias 308 1 165

Quantize+Flange 309 1 169

Resonant Filter 363 1 236

Reverb+Compress 50 2 39

Reverb<>Compress 51 3 39

Revrse LaserVerb 103 4 56

Name ID PAUs Page

Ring Modulator 380 1 252

Rotor 1 295 1 139

Shaper<>Reverb 322 2 190

SingleLFO Phaser 253 1 111

SoftKneeCompress 331 1 191

Spectral 4-Tap 154 2 72

Spectral 6-Tap 155 3 72

St Chor+4Tap ms 427 1 299

St Chor+Delay ms 426 1 299

StChor+Dly+RvrbL 408 2 299

St Chorus+4Tap 407 1 299

St Chorus+Delay 406 1 299

St Flan+4Tap ms 477 1 299

St Flan+Delay ms 476 1 299

StFlan+Dly+RvrbL 458 2 299

St Flange+4Tap 457 1 299

St Flange+Delay 456 1 299

StCh+Dly+Rvrb ms 428 2 299

Stereo Analyze 499 1 302

Stereo Hall 13 3 32

Stereo Image 280 1 130

StereoDistort+EQ 304 3 153

StFl+Dly+Rvrb ms 478 2 299

Subtle Distort 305 1 162

Super Shaper 306 1 163

Switch Loops 172 2 85

Tone Suppressor 375 2 247

TQ Place 6 3 16

TQ Verb 7 3 16

Tremolo 271 1 123

Tremolo BPM 270 1 123

TrigEnvelopeFilt 361 2 230

Tube+Reverb 327 3 173

TubeAmp<>MDBP>Ch 323 3 184

TubeAmp<>MDBP>Fl 324 3 184

VC+Dist+1Rotor 2 293 2 139

VC+Dist+HiLoRot2 294 2 139

VC+Dist+HiLoRotr 292 2 139

VC+Dist+Rotor 4 296 4 139

VC+Tube+Rotor 4 297 4 139

VibChor+Rotor 2 290 2 139

VibratoPhaser 254 1 111

WackedPitchLFO 387 3 270

8

Algorithm Specifications

MiniVerbs

1 MiniVerb
2 Dual MiniVerb

600 Mn MiniVerb

Versatile, small stereo and dual mono reverbs

PAUs: 1 for MiniVerb

2 for Dual MiniVerb

MiniVerb is a versatile stereo reverb found in many combination algorithms, but is equally useful on its
own because of its small size. The main control for this effect is the Room Type parameter. Room Type
changes the structure of the algorithm to simulate many carefully crafted room types and sizes. Spaces
characterized as booths, small rooms, chambers, halls and large spaces can be selected.

Dry

L Input

R Input

Figure 1 Simplified Block Diagram of MiniVerb

Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types
were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x.
If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to

1.00x, pick a Room Type and you’ll be on the way to a great sounding reverb. But if you want to
experiment with new reverb flavors, changing the scaling parameters away from 1.00x can cause a subtle
(or drastic!) coloring of the carefully crafted Room Types.

Diffusion characterizes how the reverb spreads the early reflections out in time. At very low settings of
Diff Scale, the early reflections start to sound quite discrete, and at higher settings the early reflections are
seamless. Density controls how tightly the early reflections are packed in time. Low Density settings have
the early reflections grouped close together, and higher values spread the reflections for a smoother reverb.

L PreDelay

R PreDelay

Miniverb

Dry

Core

Wet Out Gain

L Output

R Output

9

L Input

Dry

MiniVerb Balance

Pan

Wet

L Output

R Input

MiniVerb

Dry

Wet

Pan

Balance

Figure 2 Simplified Block Diagram of Dual MiniVerb

Dual MiniVerb has a full MiniVerb, including Wet/Dry, Pre Delay and Out Gain controls, dedicated to
both the left and right channels. In Figure 2, the two blocks labeled MiniVerb contain a complete copy of
the contents of Figure 1. Dual MiniVerb gives you independent reverbs on both channels which has
obvious benefits for mono material. With stereo material, any panning or image placement can be
maintained, even in the reverb tails! This is pretty unusual behavior for a reverb, since even real halls will
rapidly delocalize acoustic images in the reverberation. Since maintaining image placement in the
reverberation is so unusual, you will have to carefully consider whether it is appropriate for your
particular situation. To use Dual MiniVerb to maintain stereo signals in this manner, set the reverb
parameters for both channels to the same values. The Dry Pan and Wet Bal parameters should be fully left
(-100%) for the left MiniVerb and fully right (100%) for the right MiniVerb.

MiniVerb Parameters:

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB

Rvrb Time 0.5 to 30.0 s, Inf HF Damping 8 to 25088 Hz

L Pre Dly 0 to 620 ms R Pre Dly 0 to 620 ms

R Output

10

Page 2

Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x

Density 0.00 to 4.00x

Dual MiniVerb Parameters

Page 1

L Wet/Dry 0 to 100%wet R Wet/Dry 0 to 100%wet

L Out Gain Off, -79.0 to 24.0 dB R Out Gain Off, -79.0 to 24.0 dB

L Wet Bal -100 to 100% R Wet Bal -100 to 100%

L Dry Pan -100 to 100% R Dry Pan -100 to 100%

Page 2

L RoomType Hall1

L RvrbTime 0.5 to 30.0 s, Inf

L Diff Scl 0.00 to 2.00x L Density 0.00 to 4.00x

L Size Scl 0.00 to 4.00x L HF Damp 8 to 25088 Hz

L PreDlyL 0 to 620 ms L PreDlyR 0 to 620 ms

Page 3

R RoomType Hall1

R RvrbTime 0.5 to 30.0 s, Inf

R Diff Scl 0.00 to 2.00x R Density 0.00 to 4.00x

R Size Scl 0.00 to 4.00x R HF Damp 8 to 25088 Hz

R PreDlyL 0 to 620 ms R PreDlyR 0 to 620 ms

Wet/Dry A simple mix of the reverb sound with the dry sound.

Out Gain The overall gain or amplitude at the output of the effect.

Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF

Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb
Time to Inf creates an infinitely sustaining reverb.

HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.

Removing higher reverb frequencies can often make rooms sound more natural.

L/R Pre Dly The delay between the start of a sound and the output of the first reverb reflections from

that sound. Longer predelays can help make larger spaces sound more realistic. Longer
times can also help improve the clarity of a mix by separating the reverb signal from the
dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more audible
if delayed, and thus you can get by with a dryer mix while maintaining the same
subjective wet/dry level.

Room Type Changes the configuration of the reverb algorithm to simulate a wide array of carefully

designed room types and sizes. This parameter effectively allows you to have several
different reverb algorithms only a parameter change away. Smaller Room Types will
sound best with shorter Rvrb Times, and vice versa. (Note that since this parameter
changes the structure of the reverb algorithm, you don’t want to modulate it.)

11

Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the

normal, carefully adjusted amount for the current Room Type. Altering this parameter
will change the diffusion from the preset amount.

Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the

normal, carefully tweaked size of the current Room Type. Altering this parameter will
change the size of the room, and thus will cause a subtle coloration of the reverb (since the
room’s dimensions are changing).

Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be the

normal, carefully set amount for the current Room Type. Altering this parameter will
change the density of the reverb, which may color the room slightly.

Wet Bal In Dual MiniVerb, two mono signals (left and right) are fed into two separate stereo

reverbs. If you center the wet balance (0%), the left and right outputs of the reverb will be
sent to the final output in equal amounts. This will add a sense of spaciousness.

12

3 Gated MiniVerb

A reverb and gate in series

PAUs: 2

This algorithm is a small reverb followed by a gate. The main control for the reverb is the Room Type
parameter. Room Type changes the structure of the algorithm to simulate many carefully crafted room
types and sizes. Spaces characterized as booths, small rooms, chambers, halls and large spaces can be
selected.

Each Room Type incorporates different diffusion, room size and reverb density settings. The Room Types
were designed to sound best when Diff Scale, Size Scale and Density are set to the default values of 1.00x.
If you want a reverb to sound perfect immediately, set the Diff Scale, Size Scale and Density parameters to

1.00x, pick a Room Type and you’ll be on the way to a great sounding reverb. But if you want experiment
with new reverb flavors, changing the scaling parameters away from 1.00x can cause a subtle (or drastic!)
coloring of the carefully crafted Room Types.

Diffusion characterizes how the reverb spreads the early reflection out in time. At very low settings of Diff
Scale, the early reflections start to sound quite discrete, and at higher settings the early reflections are
seamless. Density controls how tightly the early reflections are packed in time. Low Density settings have
the early reflections grouped close together, and higher values spread the reflections for a smoother reverb.

The gate turns the output of the reverb on and off based on the amplitude of the input signal.

A gate behaves like an on off switch for a signal. One or both input channels is used to control whether the
switch is on (gate is open) or off (gate is closed). The on/off control is called “side chain” processing. You
select which of the two input channels or both is used for side chain processing. When you select both
channels, the sum of the left and right input amplitudes is used. The gate is opened when the side chain
amplitude rises above a level that you specify with the Threshold parameter.

The gate will stay open for as long as the side chain signal is above the threshold. When the signal drops
below the threshold, the gate will remain open for the time set with the Gate Time parameter. At the end of
the Gate Time, the gate closes. When the signal rises above threshold, it opens again. What is happening is
that the gate timer is being constantly retriggered while the signal is above threshold.

1

0

signal rises
above threshold

Figure 3 Gate Behavior

attack

time

signal falls
below threshold

gate
time

release

time

13

If Gate Duck is turned on, then the behavior of the gate is reversed. The gate is open while the side chain
signal is below threshold, and it closes when the signal rises above threshold.

If the gate opened and closed instantaneously, you would hear a large digital click, like a big knife switch
was being thrown. Obviously that’s not a good idea, so Gate Atk (attack) and Gate Rel (release) parameters
are use to set the times for the gate to open and close. More precisely, depending on whether Gate Duck is
Off or On, Gate Atk sets how fast the gate opens or closes when the side chain signal rises above the
threshold. The Gate Rel sets how fast the gate closes or opens after the gate timer has elapsed.

The Signal Dly parameter delays the signal being gated, but does not delay the side chain signal. By
delaying the main signal relative to the side chain signal, you can open the gate just before the main signal
rises above threshold. It’s a little like being able to pick up the telephone before it rings.

Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0 dB

Rvrb Time 0.5 to 30.0s, Inf HF Damping 8 to 25088 Hz

L Pre Dly 0 to 620ms R Pre Dly 0 to 620 ms

Page 2

Room Type Hall1 Diff Scale 0.00 to 2.00x

Size Scale 0.00 to 4.00x

Density 0.00 to 4.00x

Page 3

Gate Thres -79.0 to 0.0 dB Gate Time 0 to 3000 ms

Gate Duck In or Out Gate Atk 0.0 to 228.0 ms

Gate Rel 0 to 3000 ms

GateSigDly 0.0 to 25.0 ms

|||||||||||||||||||||||||||||| Reduction

-dB 60 40 ❃ 16 ❃ 8 4 0

Wet/Dry A simple mix of the reverb sound with the dry sound. When set fully dry (0%), the gate is

still active.

Out Gain An overall level control of the effect’s output (applied after the gate).

Rvrb Time The reverb time displayed is accurate for normal settings of the other parameters (HF

Damping = 25088kHz, and Diff Scale, Room Scale and Density = 1.00x). Changing Rvrb
Time to Inf creates an infinitely sustaining reverb.

HF Damping Reduces high frequency components of the reverb above the displayed cutoff frequency.

Removing higher reverb frequencies can often make rooms sound more natural.

L/R Pre Dly The delay between the start of a sound and the output of the first reverb reflections from

that sound. Longer predelays can help make larger spaces sound more realistic. Longer
times can also help improve the clarity of a mix by separating the reverb signal from the
dry signal, so the dry signal is not obscured. Likewise, the wet signal will be more audible

14

if delayed, and thus you can get by with a dryer mix while maintaining the same
subjective wet/dry level.

Room Type The configuration of the reverb algorithm to simulate a wide array of carefully designed

room types and sizes. This parameter effectively allows you to have several different
reverb algorithms only a parameter change away. Smaller Room Types will sound best
with shorter Rvrb Times, and vice versa. (Note that since this parameter changes the
structure of the reverb algorithm, you may not modulate it.)

Diff Scale A multiplier which affects the diffusion of the reverb. At 1.00x, the diffusion will be the

normal, carefully adjusted amount for the current Room Type. Altering this parameter
will change the diffusion from the preset amount.

Size Scale A multiplier which changes the size of the current room. At 1.00x, the room will be the

normal, carefully tweaked size of the current Room Type. Altering this parameter will
change the size of the room, and thus will cause a subtle coloration of the reverb (since the
room’s dimensions are changing).

Density A multiplier which affects the density of the reverb. At 1.00x, the room density will be the

normal, carefully set amount for the current Room Type. Altering this parameter will
change the density of the reverb, which may color the room slightly.

Gate Thres The input signal level in dB required to open the gate (or close the gate if Gate Duck is on).

Gate Duck When set to Off, the gate opens when the signal rises above threshold and closes when

the gate time expires. When set to On, the gate closes when the signal rises above
threshold and opens when the gate time expires.

Gate Time The time in seconds that the gate will stay fully on after the signal envelope rises above

threshold. The gate timer is started or restarted whenever the signal envelope rises above
threshold.

Gate Atk The attack time for the gate to ramp from closed to open (reverse if Gate Duck is On) after

the signal rises above threshold.

Gate Rel The release time for the gate to ramp from open to closed (reverse if Gate Duck is On)

after the gate timer has elapsed.

Signal Dly The delay in milliseconds (ms) of the reverb signal relative to the side chain signal. By

delaying the reverb signal, the gate can be opened before the reverb signal rises above the
gating threshold.

15

Reverbs

4 Classic Place
5 Classic Verb
6 TQ Place
7 TQ Verb
8 Diffuse Place

9 Diffuse Verb
10 OmniPlace
11 OmniVerb

Reverb algorithms

PAUs: 2 (Classic) or 3 (others)

This set of 2- and 3-PAU algorithms can be divided into 2 groups: Verb and Place. Verb effects allow user­friendly control over medium to large spaces. Their decay times are controlled by Rvrb Time or
LateRvbTim parameters, and Room Types range from rooms to large areas. Place algorithms on the other
hand are optimized for small spaces. Decay time is controlled by the Absorption parameter, and Room
Types offers several booths.

Each reverb algorithm consists of a several components: a diffuser, an injector, predelay, an ambience
generator with feedback, and various filters. These components provide sonic building blocks for both the
body of the reverb and the early reflection portions.

The ambience generator is the heart of each reverb algorithm and creates most of the “late” reverb in
algorithms with an Early Reflections circuit. It consists of a complex arrangement of delay lines to disperse
the sound. By using feedback in conjunction with the ambience generator, a reverb tail is produced. The
length of this reverb tail is controlled by the Rvrb Time parameter in the Verb algorithms, or the
Absorption parameter in Place algorithms.

In order to create reverbs that are smoother and richer, some of the delays in the ambience generator are
moved by LFOs. The LFOs are adjusted by using the LFO Rate and LFO Depth controls. When used subtly,
unwanted artifacts such as flutteriness and ringiness that are inherent in digital reverbs can be reduced.

In the feedback loop of the ambience generator are filters that further enhance the sonic properties of each
reverb. A lowpass filter is controlled by HF Damping and mimics high frequency energy that is absorbed
as the sound travels around a room. A low shelving filter is controlled by LF Split and LF Time, which are
used to shorten or lengthen the decay time of low frequency energy.

At the beginning of each algorithm are diffusers. A diffuser creates an initial “smearing” quality on input
signals usually before the signal enters the ambience generating loop. The DiffAmtScl and DiffLenScl
parameters change the amount and the length of time that the sound is smeared. The Diffuse reverbs,
however, implement diffusion a little differently. See the sections on Diffuse Verb and Diffuse Place on

page 22 for detailed information.

Some algorithms use injector mechanisms when feeding a signal into the ambience generator. An injector
creates copies of the input signal at different delay intervals and feeds each copy into the ambience
generator at different points. This results in finer control over the onset of the reverb. By tapering the
amplitudes of early copies vs. late copies, the initial build of the reverb can be controlled. Inj Build controls
this taper. Negative values create a slower build, while positive values create a faster build. Inj Spread
scales the time intervals that the copies are made. Inj Skew (Omni reverbs) delays one channel relative to
the other before injecting into the ambience generator. Negative values delay the left side while positive

16

values delay the right side. Inj LP controls the cutoff frequency of a 1-pole (6dB/oct) lowpass filter
associated with the injector.

Predelay can give the illusion that a space is more voluminous. Separate control over left and right
predelay is provided that can be used to de-correlate the center image, increasing reverb envelopment.

In addition to filters inside the ambience feedback loop, there also may be filters placed at the output of the
reverb including a low shelf, high shelf, and/or lowpass.

Algorithms that use Early Reflection circuits employ a combination of delays, diffusers, and filters to
create ambience that is sparser than the late portion of the reverb. These early reflections model the initial
near-discrete echoes rebounding directly off of near field surfaces before the reverb has a chance to become
diffuse. They add realism when emulating real rooms and halls.

Your starting point when creating a new reverb preset should be the Room Type parameter. This
parameter selects the basic type of reverb being. Due to the inherent complexity of reverb algorithms and
the sheer number of variables responsible for their character, the Room Type parameter provides
condensed preset collections of these variables. Each Room Type collection has been painstakingly
selected by Kurzweil engineers to provide the best sounding combination of mutually complementary
variables modeling an assortment of reverb families.

When you select a room type, an entire incorporated set of delay lengths and diffusion settings are
established within the algorithm. By using the Size Scale, DiffAmtScl, DiffLenScl, and Inj Spread
parameters, you may scale individual elements away from their pre-defined value. When set to 1.00x, each
of these elements is equivalent to its preset value as determined by the current Room Type.

Room Types with similar names in different reverb algorithms do not sound the same. For example, Hall1
in Diffuse Verb does not sound the same as Hall1 in TQ Verb.

The Size Scale parameter scales the inherent size of the reverb chosen by Room Type. For a true
representation of the selected Room Type size, set this to 1.00x. Scaling the size below this will create
smaller spaces, while larger scale factors will create large spaces. See Room Type for more detailed
information.

The InfinDecay switch is designed to override the Rvrb Time parameter and create a reverb tail with an
infinite decay time when On. However, certain HF Damping settings may reduce this effect, and cause the
tail to taper away.

Classic Verb and Classic Place

Classic reverbs are 2-PAU algorithms with early reflections. The late portion consists of an input diffuser,
ambience generator with low shelving filters, lopass filters, and LFO moving delays, and predelay.

The early reflection portion consists of one delay per channel sent to its own output channel controlled by
E Dly L and E Dly R, and one delay per channel sent to its opposite output channel controlled be E Dly LX
and E Dly RX. Each of these delays also use a Diffuser. Diffusion lengths are separately controlled by
E DifDly L, E DifDly R, E DifDly LX, and E DifDly RX while diffusion amounts are all adjusted with
E DiffAmt.

The late reverb and early reflection portions are independently mixed together with the Late Lvl and
EarRef Lvl controls. The wet signal is passed through a final high shelving filter before being mixed with
the dry signal.

17

L Input

DiffAmtScl
DiffLenScl

Diffusor

LF Mult

HF Damping

Rvrb Time

Absorption

L ER Output

L Pre Dly

EarRef Lvl

Late

Lvl

Treble

Dry

Wet

L Output

Ambience

Rvrb Time
Absorption

R Pre Dly

R ER Output

R Input

DiffAmtScl
DiffLenScl

Diffusor

HF Damping

LF Mult

Figure 4 Signal flow of Classic Verb and Classic Place

E DfDlyScl
E DiffAmt

(Apply to all Diffusors)

E DifDlyL

E Dly L

L Input

E Dly LX

Diffusor

E DifDlyLX

Diffusor

E DifDlyR

Late

Lvl

EarRef Lvl

Treble

Blend

E Blend X

Out Gain

R Output

Wet

Dry

L ER Output

18

E Dly RX

R Input

E Dly R

Diffusor

E DifDlyRX

Diffusor

E Blend X

Blend

Figure 5 Early reflection portion of Classic Verb and Classic Place

Parameters for Classic Verb and Classic Place:

Page 1 (Classic Verb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Rvrb Time 0.00 to 60.00 s EarRef Lvl -100 to 100%

HF Damping 0 to 25088 Hz Late Lvl -100 to 100%

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

R ER Output

Page 1 (Classic Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Absorption 0 to 100 % EarRef Lvl -100 to 100%

HF Damping 0 to 25088 Hz Late Lvl -100 to 100%

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (Classic Verb)

Room Type Hall1, ... DiffAmtScl 0.00 to 2.00 x

Size Scale 0.01 to 2.00x DiffLenScl 0.00 to 2.00 x

InfinDecay On or Off LFO Rate 0.01 to 10.00 Hz

LFO Depth 0.0 to 100.0 ct

TrebShlf F 8 to 25088 Hz LF Split 8 to 25088 Hz

TrebShlf G -79.0 to 24.0 dB LF Time 0.50 to 1.50 x

Page 2 (Classic Place)

Room Type Hall1, ... DiffAmtScl 0.00 to 2.00 x

Size Scale 0.01 to 2.00x DiffLenScl 0.00 to 2.00 x

LFO Rate 0.01 to 10.00 Hz

LFO Depth 0.0 to 100.0 ct

TrebShlf F 8 to 25088 Hz LF Split 8 to 25088 Hz

TrebShlf G -79.0 to 24.0 dB LF Time 0.50 to 1.50 x

Page 3

E DfDlyScl 0.00 to 2.00 x E X Blend 0 to 100 %

E DiffAmt -100 to 100 %

E Dly L 0.0 to 720.0 ms E Dly R 0.0 to 720.0 ms

E Dly LX 0.0 to 720.0 ms E Dly RX 0.0 to 720.0 ms

E DifDlyL 0.0 to 160.0 ms E DifDlyR 0.0 to 160.0 ms

E DifDlyLX 0.0 to 230.0 ms E DifDlyRX 0.0 to 230.0 ms

TQ Verb and TQ Place:

TQ reverbs are 3-PAU algorithms with early reflections. The late portion consists of an input diffuser,
injector, ambience generator with a lopass filter, low shelving filter, and LFO moving delays, and predelay.

The early reflection portion combines a combination of delays, diffusers, and feedback outlined by

Figure 7. The relative delay lengths are all fixed but are scalable with the E Dly Scl parameter. Relative

diffusion lengths are also fixed, and are scalable with the E DfLenScl parameter. Diffusion amount are
adjusted with E DiffAmt. The E Build parameter ramps the gains associated with each delay line in a way
that changes the characteristic of the onset of the early reflections. Negative amounts create a slower onset
while positive amount create a faster onset.

The late reverb and early reflection portions are independently mixed together with the Late Lvl and
EarRef Lvl controls. The wet signal is passed through a final high shelving filter before being mixed with
the dry signal.

19

L Input

Reverb Time

Absorption

DiffAmtScl
DiffLenScl

Diffuser

DiffAmtScl
DiffLenScl

Diffuser

Inj LP

L Pre Dly

Inj LP

R Pre Dly

InjBuild
InjSpread

Injector

Injector

InjBuild
InjSpread

LF Mult

LF Mult

Reverb Time

HF Damping

Ambience

HF Damping

Absorption

R Input

Figure 6 Signal flow of TQ Verb and TQ Place

E Dly Scl
(Applies to
All Delays)

Delay

Diffusor

L ER Output

R ER Output

EarRef Lvl

Late Lvl

Late Lvl

EarRef Lvl

Treble

Treble

Wet

Wet

Dry

Out

Gain

Out

Gain

Dry

L Output

R Output

20

L Input

E PreDly L

E Fdbk Amt

Delay

Delay

Diffusor

Diffusor

Delay

Delay

Diffusor

Diffusor

Diffusor

R Input

E PreDly R

Delay

Delay

Delay

Figure 7 Early reflection portion of TQ Verb and TQ Place

L ER Output

E Build

E Build

R ER Output

Parameters for TQ Verb and TQ Place:

Page 1 (TQ Verb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Rvrb Time 0.00 to 60.00 s EarRef Lvl -100 to 100%

HF Damping 0 to 25088 Hz Late Lvl -100 to 100%

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 1 (TQ Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Absorption 0 to 100 % EarRef Lvl -100 to 100%

HF Damping 0 to 25088 Hz Late Lvl -100 to 100%

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (TQ Verb)

Room Type Hall1, ... TrebShlf F 8 to 25088 Hz

Size Scale 0.00 to 2.50x TrebShlf G -79.0 to 24.0 dB

InfinDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 2.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (TQ Place)

Room Type Hall1, ... TrebShlf F 8 to 25088 Hz

Size Scale 0.00 to 2.50x TrebShlf G -79.0 to 24.0 dB

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 2.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 3

Inj Build -100 to 100 % Inj LP 8 to 25088 Hz

Inj Spread 0.00 to 2.50 x

E DiffAmt -100 to 100 % E Build -100 to 100 %

E DfLenScl 0.00 to 2.50 x E Fdbk Amt -100 to 100 %

E DlyScl 0.00 to 2.50 x E HF Damp 8 to 25088 Hz

E PreDlyL 0.0 to 150.0 ms E PreDlyR 0.0 to 150.0 ms

21

Diffuse Verb and Diffuse Place

Diffuse reverbs are 3-PAU algorithms and are characterized as such because of the initial burst of diffusion
inherent in the onset of the reverb. The diffusion consists of an input diffuser, ambience generator with a
lopass filter, low shelving filter, and LFO moving delays, and predelay.

In the diffuse reverbs, the diffuser is implemented a little differently. The diffuser is just inside the
ambience generation loop, so changes in diffusion create changes the reverb decay. The diffuse reverbs
also offer DiffExtent and Diff Cross parameters. DiffExtent selects one of seven arbitrary gate time lengths
of the initial diffusion burst, while Diff Cross adjusts the combination of left and right channels that are
diffused.

LateRvbTim
Absorption

LateRvbTim
Absorption

HF Damping

HF Damping

L Pre Dly

R Pre Dly

Lopass

Lopass

Wet

Wet

L Input

R Input

LF Mult

DiffExtent

Diff Cross

Diffusor Ambience

DiffAmtScl

DiffLenScl

LF Mult

Figure 8 Signal flow of Diffuse Verb and Diffuse Place

Parameters for Diffuse Verb and Diffuse Place:

Page 1 (Diffuse Verb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

LateRvbTim 0.00 to 60.00 s

HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Dry

L Output

Out Gain

R Output

Dry

22

Page 1 (Diffuse Place)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Absorption 0 to 100 %

HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (Diffuse Verb)

Room Type Hall1, ... DiffExtent 1 to 7 x

Size Scale 0.01 to 2.50x Diff Cross -100 to 100 %

InfinDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.01 to 2.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (Diffuse Place)

Room Type Hall1, ... DiffExtent 1 to 7 x

Size Scale 0.01 to 2.50x Diff Cross -100 to 100 %

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.01 to 2.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

OmniVerb and OmniPlace:

Omni reverbs are 3-PAU algorithms that consists of an input diffuser, injector, ambience generator with a
lopass filter, low shelving filter, and LFO moving delays, and predelay.

The Expanse parameter adjusts the amount of reverb energy that is fed to the edges of the stereo image. A
value of 0% concentrates energy in the center of the image, while non-zero values spread it out. Positive
and negative values impose different characteristics on the reverb image.

At the output of the reverb are a pair each of low shelving and high shelving filters.

23

L Input

DiffAmtScl
DiffLenScl

Diffuser

Lopass

Inj Build
Inj Spread
Inj Skew

Injector

LF Mult

Reverb Time

Absorption

Ambience

HF Damping

L Pre Dly

Treble

Bass

Wet

Dry

Out

Gain

L Output

DiffAmtScl
DiffLenScl

Diffuser

Lopass

Injector R Pre Dly

Inj Build
Inj Spread
Inj Skew

LF Mult

Reverb Time

Absorption

HF Damping

Treble

Bass

Wet

R Input

Figure 9 Signal flow of OmniVerb and OmniPlace

Parameters for OmniVerb and OmniPlace:

Page 1 (OmniVerb)

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Rvrb Time 0.00 to 60.00 s

HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 1 (OmniPlace)

Out

Gain

Dry

R Output

24

Wet/Dry -100 to 100% Out Gain Off; -79.0 to 24.0 dB

Absorption 0 to 100 %

HF Damping 0 to 25088 Hz Lopass 8 to 25088 Hz

L Pre Dly 0.0 to 230.0 ms R Pre Dly 0.0 to 230.0 ms

Page 2 (OmniVerb)

Room Type Hall1, ... Expanse -100 to 100 %

Size Scale 0.00 to 2.50x

InfinDecay On or Off DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 4.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 2 (OmniPlace)

Room Type Hall1, ... Expanse -100 to 100 %

Size Scale 0.00 to 2.50x

DiffAmtScl 0.00 to 2.00 x

DiffLenScl 0.00 to 4.50 x

LF Split 8 to 25088 Hz LFO Rate 0.01 to 10.00 Hz

LF Time 0.50 to 1.50 x LFO Depth 0.0 to 100.0 ct

Page 3

TrebShlf F 8 to 25088 Hz

Inj Build -100 to 100 % TrebShlf G -79.0 to 24.0 dB

Inj Spread 0.00 to 4.50 x BassShlf F 8 to 25088 Hz

Inj Skew -200 to 200 ms BassShlf G -79.0 to 24.0 dB

Parameters

Absorption This controls the amount of reflective material that is in the space being

emulated, much like an acoustical absorption coefficient. The lower the
setting, the longer it will take for the sound to die away. A setting of 0%
will cause an infinite decay time.

Rvrb Time Adjusts the basic decay time of the late portion of the reverb.

LateRvbTim Adjusts the basic decay time of the late portion of the reverb after

diffusion.

HF Damping This controls the amount of high frequency energy that is absorbed as the

reverb decays. The values set the cutoff frequency of the 1 pole (6dB/oct)
lowpass filter within the reverb feedback loop.

L Pre Dly, R Pre Dly These control the amount that each channel of the reverb is delayed

relative to the dry signal. Setting different lengths for both channels can
de-correlate the center portion of the reverb image and make it seem
wider. This only affects the late reverb in algorithms that have early
reflections.

Lopass Controls the cutoff frequency of a 1 pole (6dB/oct) lowpass filter at the

output of the reverb. This only affects the late reverb in algorithms that
have early reflections.

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EarRef Lvl The mix level of the early reflection portion of algorithms offering early

reflections.

Late Lvl The mix level of the late reverb portion of algorithms offering early

reflections.

Room Type This parameter selects the basic type of reverb being emulated, and

should be your starting point when creating your own reverb presets.
Due to the inherent complexity of reverb algorithms and the sheer
number of variables responsible for their character, the Room Type
parameter provides condensed preset collections of these variables. Each
Room Type preset has been painstakingly selected by Kurzweil engineers
to provide the best sounding collection of mutually complementary
variables modeling an assortment of reverb families. When a room type is
selected, an entire incorporated set of delay lengths and diffusion settings
are established within the algorithm. By using the Size Scale, DiffAmtScl,
DiffLenScl, and Inj Spread parameters, you may scale individual
elements away from their preset value. When set to 1.00x, each of these
elements are accurately representing their preset values determined by
the current Room Type.

Room Types with similar names in different reverb algorithms do not
sound the same. For example, Hall1 in Diffuse Verb does not sound the
same as Hall1 in TQ Verb.

Size Scale Scales the inherent size of the reverb chosen by Room Type. For a true

representation of the selected Room Type size, set this to 1.00x. Scaling
the size below this will create smaller spaces, while larger scale factors
will create large spaces. See Room Type for more detailed information.

InfinDecay Found in “Verb” algorithms. When turned On, the reverb tail will decay

indefinitely. When turned Off, the decay time is determined by the Rvrb
Time or LateRvbTim parameters.

LF Split Used in conjunction with LF Time. This controls the upper frequency

limit of the low frequency decay time multiplier. Energy below this
frequency will decay faster or slower depending on the LF Time
parameter.

LF Time Used in conjunction with LF Split. This modifies the decay time of the

energy below the LF Split frequency. A setting of 1.00x will make low
frequency energy decay at the rate determined by the decay time. Higher
values will cause low frequency energy to decay slower, and lower values
will cause it to decay more quickly.

TrebShlf F The frequency of a high shelving filter at the output of the late reverb.

TrebShlf G The gain of a high shelving filter at the output of the late reverb.

BassShlf F The frequency of a low shelving filter at the output of the late reverb.

BassShlf G The gain of a low shelving filter at the output of the late reverb.

DiffAmtScl The amount of diffusion at the onset of the reverb. For true representation

of the selected Room Type diffusion amount, set to 1.00x.

DiffLenScl The length of the diffusion at the onset of the reverb. For true

representation of the selected Room Type diffusion length, set to 1.00x.

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DiffExtent The onset diffusion duration. Higher values create longer diffuse bursts

at the onset of the reverb.

Diff Cross The onset diffusion cross-coupling character. Although subtle, this

parameter bleeds left and right channels into each other during onset
diffusion, and also in the body of the reverb. 0% setting will disable this.
Increasing this value in either the positive or negative direction will
increase its affect.

Expanse Amount of late reverb energy biased toward the edges of the stereo

image. A setting of 0% will bias energy towards the center. Moving away
from 0% will bias energy towards the sides. Positive and negative values
will have a different character.

LFO Rate The rate at which certain reverb delay lines move. See LFO Depth for

more information.

LFO Depth Adjusts the detuning depth in cents caused by a moving reverb delay

line. Moving delay lines can imitate voluminous flowing air currents and
reduce unwanted artifacts like ringing and flutter when used properly.
Depth settings under 1.5ct with LFO Rate settings under 1.00Hz are
recommended for modeling real spaces. High depth settings can create
chorusing qualities, which won’t be unsuitable for real acoustic spaces,
but can nonetheless create interesting effects. Instruments that have little
if no inherent pitch fluctuation (like piano) are much more sensitive to
this LFO than instruments that normally have a lot of vibrato (like voice)
or non-pitched instruments (like snare drum).

Inj Build Used in conjunction with Inj Spread, this adjusts the envelope of the onset

of the reverb. Specifically, it tapers the amplitudes of a series of delayed
signals injected into the body of the reverb. Values above 0% will produce
a faster build, while values below 0% will cause the build to be more
gradual.

Inj Spread Used in conjunction with Inj Build, this scales the length of the series of

delays injected into the body of the reverb. For a true representation of
the selected Room Type injector spread, set this to 1.00x.

Inj LP The cutoff frequency of a 1 pole (6dB/oct) lowpass filter applied to the

signal being injected into the body of the reverb.

Inj Skew The amount of delay applied to either the left or right channel of the

reverb injector. Positive values delay the right channel while negative
values delay the left channel.

E DiffAmt The amount of diffusion applied to the early reflection network.

E DfLenScl The length of diffusion applied to the early reflection network. This is

influenced by E PreDlyL and E PreDlyR.

E Dly Scl Scales the delay lengths inherent in the early reflection network.

E Build The envelope of the onset of the early reflections. Values above 0% will

create a faster attack while values below 0% will create a slower attack.

E Fdbk Amt The amount of the output of an early reflection portion that is fed back

into the input of the opposite channel in front of the early predelays.
Overall, it lengthens the decay rate of the early reflection network.
Negative values polarity invert the feedback signal.

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E HF Damp The cutoff frequency of a 1 pole (6dB/oct) lowpass filter applied to the

early reflection feedback signal.

E PreDlyL, E PreDlyR The amount of delay in early reflections relative to the dry signal. These

are independent of the late reverb predelay times, but will influence
E Dly Scl.

E Dly L, E Dly R The left and right early reflection delays fed to the same output channels.

E Dly LX, E Dly RX The left and right early reflection delays fed to the opposite output

channels.

E DifDlyL, E DifDlyR The diffusion delays of the diffusers on delay taps fed to the same output

channels.

E DifDlyLX, E DifDlyRX The diffusion delays of the diffusers on delay taps fed to the opposite

output channels.

E X Blend The balance between early reflection delay tap signals with diffusers fed

to their same output channel, and those fed to opposite channels. 0% will
only allow delay taps being fed to opposite output channels to be heard,
while 100% allows only delay taps going to the same channels to be
heard.

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12 Panaural Room

Room reverberation algorithm

PAUs: 3

The Panaural Room reverberation is implemented using a special network arrangement of many delay lines that guarantees colorless sound. The reverberator is inherently stereo with each input injected into the “room” at multiple locations. The signals entering the reverberator first pass through a shelving bass equalizer with a range of +/-15dB. To shorten the decay time of high frequencies relative to mid frequencies, lowpass filters controlled by HF Damping are distributed throughout the network. Room Size scales all the delay times of the network (but not the Pre Dly or Build Time), to change the simulated room dimension over a range of 1 to 16m. Decay Time varies the feedback gains to achieve decay times from 0.5 to 100 seconds. The Room Size and Decay Time controls are interlocked so that a chosen Decay Time will be maintained while Room Size is varied. A two input stereo mixer, controlled by Wet/Dry and Out Gain, feeds the output.

Dry

L Input

R Input

PreDelay

PreDelay

Dry

Reverb

Wet

Out Gain

L Output

R Output

Figure 10 Simplified block diagram of Panaural Room

The duration and spacing of the early reflections are influenced by Room Size and Build Time, while the
number and relative loudness of the individual reflections are influenced by Build Env. When Build Env is
near 0% or 100%, fewer reflections are created. The maximum number of important early reflections, 13, is
achieved at a setting of 50%.

To get control over the growth of reverberation, the left and right inputs each are passed through an
“injector” that can extend the source before it drives the reverberator. Only when Build Env is set to 0% is
the reverberator driven in pure stereo by the pure dry signal. For settings of Build Env greater than 0%, the
reverberator is fed multiple times. Build Env controls the injector so that the reverberation begins abruptly
(0%), builds immediately to a sustained level (50%), or builds gradually to a maximum (100%). Build Time
varies the injection length over a range of 0 to 500ms. At a Build Time of 0ms, there is no extension of the
build time. In this case, the Build Env control adjusts the density of the reverberation, with maximum
density at a setting of 50%. In addition to the two build controls, there is an overall Pre Dly control that can
delay the entire reverberation process by up to 500ms.

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Parameters

Page 1

Wet/Dry 0 to 100%wet Out Gain Off, -79.0 to 24.0

Room Size 1.0 to 16.0 m

Pre Dly 0 to 500 ms Decay Time 0.5 to 100.0 s

HF Damping 8 to 25088 Hz

Page 2

Bass Gain -15 to 15 dB Build Time 0 to 500 ms

Build Env 0 to 100%

Wet/Dry The amount of the stereo reverberator (wet) signal relative to the original input (dry)

signal to be output. The dry signal is not affected by the Bass Gain control. The wet signal
is affected by the Bass Gain control and by all the other reverberator controls. The balance
between wet and dry signals is an extremely important factor in achieving a good mix.
Emphasizing the wet signal gives the effect of more reverberation and of greater distance
from the source.

Out Gain The overall output level for the reverberation effect, and controls the level for both the wet

and dry signal paths.

Decay Time The reverberation decay time (mid-band “RT60”), the time required before the

reverberation has died away to 60dB below its “running” level. Adjust decay time
according to the tempo and articulation of the music and to taste.

HF Damping Adjusts lowpass filters in the reverberator so that high frequencies die away more quickly

than mid and low frequencies. This shapes the reverberation for a more natural, more
acoustically accurate sound.

Bass Gain Shapes the overall reverberation signal’s bass content, but does not modify the decay

time. Reduce the bass for a less muddy sound, raise it slightly for a more natural acoustic
effect.

Room Size Choosing an appropriate room size is very important in getting a good reverberation

effect. For impulsive sources, such as percussion instruments or plucked strings, increase
the size setting until discrete early reflections become audible, and then back it off slightly.
For slower, softer music, use the largest size possible. At lower settings, Room Size leads
to coloration, especially if the Decay Time is set too high.

Pre Dly Introducing predelay creates a gap of silence between that allows the dry signal to stand

out with greater clarity and intelligibility against the reverberant background. This is
especially helpful with vocal or classical music.

Build Time Similar to predelay, but more complex, larger values of Build Time slow down the

building up of reverberation and can extend the build up process. Experiment with Build
Time and Build Env and use them to optimize the early details of reverberation. A Build
Time of 0ms and a Build Env of 50% is a good default setting that yields a fast arriving,
maximally dense reverberation.

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Build Env When Build Time has been set to greater than about 80ms, Build Env begins to have an

audible influence on the early unfolding of the reverberation process. For lower density
reverberation that starts cleanly and impulsively, use a setting of 0%. For the highest