Waves Audio TrueVerb User Guide
TrueVerb
Room Emulator and Reverb
Table of Contents
Chapter 1 .............................................. Quick Start .... 4
Chapter 2 ..................................TrueVerb Interface .... 7
Chapter 3 ...................................... Using TrueVerb .. 11
Definition of major terms ............ 5
Quick Start on Thru mode............ 6
Example one ............ 6
Example two ............ 6
Time Response graph ............ 7
Time Response controls ............ 8
Frequency Response graph ............ 9
Input/Output Section .......... 10
Thru mode .......... 11
Using Thru mode .......... 11
Adjusting Thru mode .......... 12
Try this basic example .......... 12
Send mode.......... 13
Using Send mode .......... 13
Adjusting Send mode .......... 14
Chapter 4 ...................................TrueVerb Tutorial .. 15
Some Reverb basics .......... 15
How does TrueVerb work? .......... 15
TrueVerb and stereo .......... 16
Two modes of TrueVerb .......... 16
TrueVerb in-depth example .......... 16
Dimension .......... 17
RoomSize.......... 18
Distance .......... 18
Link .......... 19
Balance.......... 19
DecayTime .......... 20
PreDelay .......... 20
Density .......... 20
RevShelf .......... 20
ERAbsorb.......... 21
Reverb Damping .......... 21
Evar and Rvar buttons .......... 24
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Chapter 5 ................... Multiple Parallel TrueVerbs .. 25
Multiple uses .......... 25
Multi-Distances.......... 25
Higher Quality .......... 26
Combo Thru/Send.......... 29
Surround Sound .......... 29
Chapter 6 ....................... Remastering Applications .. 30
Using TrueVerb for a live concert effect .......... 30
Using TrueVerb for Remastering recordings .......... 30
Natural EQ first .......... 30
Proper stereo width.......... 31
Natural sound+TrueVerb= maybe not .......... 31
Using TrueVerb with previous Reverb effects .......... 31
Chapter 7 ......................... General TrueVerb Basics .. 32
How to begin.......... 32
RoomSize and Distance .......... 32
Imagine the room .......... 33
Chapter 8 .......................................... Setup Library .. 34
About the setups .......... 34
About the library .......... 34
Thru setups.......... 34
Send setups .......... 34
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Chapter 1 • Quick start
You know you should read this manual very carefully, but you want to start immediately! So here’s a brief two-page
TrueVerb Quick Start. Following this is a description of the Thru and Send modes. After that, if you want a complete
tutorial on TrueVerb, we suggest you read the cleverly-titled
of each control.
TrueVerb is very different from other reverb processors. It has two main modes:
[1] the ‘Thru’ mode, for True Distance Processing
[2] traditional ‘Send’ mode
You probably know how a send mode works, so we’ll describe the ‘thru’ mode first: everything goes thru it. You don’t
‘mix’ the sound of TrueVerb in with the original; instead, the original passes through it, so you put TrueVerb on the
Insert point of a track, Aux, or Master.
Example One: you have a “board mix” of a concert, and it needs a ‘room’ feel. Patch the TrueVerb on the stereo Insert
point of the Master fader. Determine how big the room is, how bright or dull it is, and, (here is the unique part)
determine how far the
Distance to the stage is. (This also works well for classical or jazz recordings that need a better
room sound.)
Example Two: you have a submix of drums in your mix, and you need to put the drums in a 'good room’. Insert
TrueVerb on your drum submix Master or Aux (this depends on your application); load the
setup file from the convenient TrueVerb Setup Library, and tweak. Instant room, without ‘room mics’ or some nice
big hardwood-floor studio. (This works well for any submix, like vocals, guitars, etc.)
TrueVerb tutorial chapter. It offers detailed description
Drum Room (thru)
TrueVerb lets you create a true, natural-sounding room around a sound source, and control the RoomSize, frequency characteristics, and Distance. Or you can use it just like any other send-receive reverb and still use the early
reflections and reverb together or separately. The Setup Library is made in two parts: Thru and Send. Put the
TrueVerb where you want, choose the setup file you need, and tweak.
If you are unfamiliar with the Load/Save system, read the
WaveSystem Manual for info on this and many more
power tips common to all Waves plug-ins.
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Definition of major terms
TrueVerb generates the virtual space by using two algorithms. The first is the Early Reflections, which gener-
ates multiple reflections in the first 100ms (one-tenth of a second) or so. The second is the Reverb,
with many reflections, increasingly dense. By putting them together, a virtual room can be created.
Some controls work on both algorithms, some separately.
Direct means the input signal, unchanged except in level.
EarlyRef means the early reflections, affected by the ERAbsorb control, the Distance, DecayTime, and the
Balance.
Reverb means the output of the reverb processor, affected by the RevShelf, the Reverb Damping, DecayTime,
and Balance controls.
Distance controls the perceived distance of the source.(This controls replaces the traditional "wet/dry" con-
trol).
DecayTime is the total ‘reverb time’ of the room you create, affecting the early reflections and reverberation.
RoomSize controls the size of the room in cubic meters.
Dimension controls the pattern of the Early Reflections to simulate a 1 to 4 dimensional space.
Balance controls the relative levels between Reverb and the Direct/EarlyRef, maintaining a constant per-
ceived level.
Damping includes HF and LF (high/low frequencies) character of the Reverb itself. The HF and LF include
adjustable Frequency controls (HD Freq and LD Freq) and DampRatio controls.
RevShelf is an input HF shelving filter for the Reverb.
ERAbsorb is an output HF filter for the Early Reflections.
The Freq control sets the frequencies for the RevShelf and the ERAbsorb.
PreDelay is the time before the Reverb begins, allowing the early reflections to ‘reach’ your ear first, much like
in a true room.
Density controls the initial buildup of reflections in the Reverb.
This manual has nicely detailed explanations of all these points, and more. Please take the time to read it. Then you
can really ‘get the picture’ on how to fully use the TrueVerb. For a more complete explanation on everything, read
TrueVerb Tutorial in chapter 4.
the
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Quick Start on Thru mode
Example one
If you have a fully-mixed stereo file that is relatively ‘dry’, without reverb, then open the file on two tracks in your
software. (A multitrack stereo mix will be fine too, without reverb). Ideally, you have some acoustic or jazz tracks, or
even an ‘off-the-board’ mix from a concert.
For convenience to TDM users, we have provided a ProTools Session template in the Setup Library’s Template
folder called “QuickStart Example 1 Template”. It already has the Master fader with TrueVerb inserted for you. Open
this template if you wish, or follow the next 3 instructions. Of course, if you use the template, you’ll have to import
some stereo track to play with.
First, create a stereo Master fader.
Then, insert TrueVerb on that Master fader.
Last, click and hold the
Load button on TrueVerb. A popup will appear; select the file “Medium Concert Hall ”.
Adjust the Distance control.
At first, this may sound very different from other reverbs you have used. You will hear the sound source moving
away from you. TrueVerb is a mixing tool, so it simulates the distance while maintaining a
constant perceived level.
(In a real room, the level of everything would go down as you move further away.) You can’t just move Distance
around and pretend to be flying around in the room. Take your time and balance your monitor levels so that you
can really ‘get into’ the space created by TrueVerb.
An excellent source for Medium Concert Hall is a nylon (classical) guitar, dry recording. By changing the Distance,
RoomSize, and Absorption, you can define the room you want the guitarist to be in.
Example two
For convenience, we have provided a ProTools Session template in the Setup Library’s Template folder called
“QuickStart Example 2 Template”. It already has the Aux fader with TrueVerb inserted for you. Open this template
if you wish, or follow the instructions in the next paragraph. Of course, if you use the template, you’ll have to import
some stereo track to play with (preferably some percussion).
If you have a drum submixed to two channels, this is ideal, so mute all the other tracks and insert TrueVerb on the
Stereo Master (if not already there). If the drums are on an Aux, then insert TrueVerb on that Stereo Aux of the
submix.
output
Make sure you route all tracks to the submix bus and not to the output; listen only to the Stereo Aux
and do not mix in any ‘direct’ sound from the individual drum channels to your Main Out.
Then, select the setup file “Drum Room ” from the Load popup. You’ll have a nice tight drum room that’s not too
bright or warm. Bongos and other solo percussion work famously well in this room too. It has high a Density and a
short DecayTime.
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Chapter 2 - TrueVerb Interface
TrueVerb's graphic interfaceTrueVerb's graphic interface
TrueVerb's graphic interface
TrueVerb's graphic interfaceTrueVerb's graphic interface
Time Response graph
The top window (seen on the next page) is the Time Response graph, showing Room Size, Distance to source, the
Early Reflections, PreDelay, Reverb tail, and all relative levels.
Room Size on the graph is shown at the top in meters (one axis) and the bottom in milliseconds; therefore, a size
of 20 meters means a room 20x20x20=8000 cubic meters. The Room Size button, just below the Time window,
shows the total cubic meter size. (Example: you want a small hall, 10 meters wide, 5 meter ceiling, and 20 meters
deep = 1000 cubic meters).
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Distance is also shown, in meters. Both Room Size and Distance can be adjusted by dragging the markers. You can
even go outside the room, beyond the wall! In this case, the distance marker turns red to indicate ‘out of bounds’, just
to let you know you're in the lobby.
The bottom edge of the Time Response graph is in milliseconds. From left to right, the graph shows the Direct
sound (the first vertical bar on the left edge), the spread of early reflections on the left as white lines, then the Reverb,
overlapping the reflections. As the PreDelay value changes, the Reverb shape will move to show the time offset.
Time Response controls
Just below the Time Response graph are the controls for the EarlyReflections and Reverb. When you click on a
control, small arrows will show which way to move the mouse for adjustment, either left-right, or up-down.
Here are brief descriptions of each control:
Dimension Changes the ‘character’ of the Early Reflections to simulate an ‘N’ dimensional space; for example, a
value of 2.0 will generate a pattern of early reflections that a 2 dimensional object might give; a value
of 3.0 would correspond to a 3 dimensional room, and 4 vill be a virtual 4 dimensional space.
Dimension does not affect the Reverb at all in tone, density, or diffusion.
Room Size Measured in cubic meters; for example, 8000 could be a room 20x20x20 (in meters), or 20x40x10.
The blue triangles are a reminder that you can also change Room Size by dragging the marker in the
Time Response graph.
Distance Measured in meters; controls the apparent distance from the listener to the input source. Automati-
cally changes early reflections timing, and, if Link is on, also changes the reverb level and PreDelay.
The yellow triangles are a reminder that you can also change Distance by dragging the marker in the
Time Response graph. (When Link is off, Distance controls the Room level.)
Link Toggle button between Distance and Balance controls, which links the Reverb, Room, and PreDelay
together. When on, the Reverb and PreDelay match the level of the last reflection in the Room.
When off, PreDelay can be manually set, and the Reverb level can be changed (‘unmatched’ to
Room).
Balance Controls the balance between the Reverb and the Direct+EarlyReflections levels. Positive values
increase Reverb and decrease Direct+ EarlyReflections; negative does the opposite. When Link is
on, the 0.0dB position represents the natural Balance between EarlyReflections and Reverb, given
the rest of the controls settings. In this case changes of Balance will be arround this reference point.
When Link is off the 0.0dB position results in equal levels for the EarlyReflections.
DecayTime Measured in seconds (standard -60dB reference); determines the rate at which the early reflections
and reverb fade away.
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PreDelay Measured in milliseconds (ms); controls the delay time before the reverb begins. When Link is on,
the PreDelay is set internally, and no user adjustments can be made to it. When Link is off, you can
freely adjust the PreDelay.
Density Ranges from 0.000 to 1.000; optimum smoothness at 0.850. Controls the density of the initial ‘buildup’
of reflections in the Reverb; higher values have higher density. Percussive sounds usually sound
better with higher density values.
f
Frequency Response graph
The bottom window is the Frequency Response graph, showing the Reverb’s frequency ‘contour’, the RevShelf, and
the RoomAbsorb.
RevShelf Measured in dB; shown by the light blue line in the graph. A high frequency shelving filter that
affects only the input to the Reverb section. The Freq sets the corner frequency for both the Shelf
and the ERAbsorb.
ERAbsorb Measured in dB; EarlyReflections Absorption is shown by the yellow line in the graph. Affects only
the Early Reflections, simulating the absorption characteristics of a real room’s surfaces. For example, a dull room, with lots of fabric or carpeting, would have a very low value. The Freq sets the
corner frequency of the absorption (for both the ERAbsorb and the RevShelf).
Freq Measured in Hz; sets the ‘corner frequency’ of both the Shelf and the ERAbsorb controls.
Reverb damping Actually a collection of four controls, which are unlabeled on the interface. The controls
are listed below, from left to right on the interface. The frequency response of the Reverb’s decay is
controlled by them, and is shown on the graph as the blue area. Two small crosshair cursors (+) on
the blue Reverb curve let you control both Freq and Ratio of either LF or HF.
LF Damp Measured in Hz; sets the corner frequency of the Low Frequency Damping Ratio (LF Ratio).
LF Ratio Controls the decay time of low frequencies in the Reverb section, relative to the DecayTime value.
For example, a ‘warm’ room may have a value slightly above 1.00x; a room with better intelligibility
usually has a value below 1.00x.
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HF Ratio Controls the decay time of high frequencies in the Reverb section relative to the DecayTime value.
For example, most halls might have settings between 0.25x and 0.50x. The higher the setting, the
brighter the sound of the Reverb.
HF Damp Measured in Hz; sets the corner frequency of the High Frequency Damping Ratio (HF Ratio).
Input/Output Section
The bottom right corner of the window has all I/O controls and metering.
InputGain A full-range control, from 0.0 to silence
(- infinity), adjusting the input level
Direct On/off toggle, with Direct level gain control
EarlyRefl On/off toggle, with Early Reflection level gain control
Reverb On/off toggle, with Reverb level gain control
VU meters TrueVerb’s stereo output level is shown on the VU meters; below each meter is a numeric infinite
peak hold, showing the highest value until reset. These peak hold values are sample-accurate.
Above the meters is a clip indicator that will turn red and show the word ‘clip’ if a single sample is
at full value (0.0dBFS). To reset the peak values, click directly on the meters, to reset the clip box,
click directly on the clip box.
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