The “New” algorithms take advantage of the extra DSP horsepower of the new hardware. Diffusion and EQ controls have been added to Room and Plate. Position control has been added to Plate. For all three new algorithms, the Diffusion range has been expanded – Diffusion in the original was rather subtle. Hi freq EQ has also been brightened a tad at the 0, -1, and -2 settings.
Stereo is an unfortunate name for a reverb algorithm but we use it here for historical reasons. The first reverb developed for the Eventide SP2016 was the “Room” algorithm and it was MONO in only. While the outputs are decorrelated, the input is MONO. Users asked for a stereo version and “Stereo Room” was developed. Stereo Room creates separate paths for each channel’s early reflections.
As close as we could get (short of modeling the original analog circuitry). The digital processing is identical. As is the sample rate. Analogically, there are differences. The original Eventide SP2016 used a 16-bit, dual-slope, run-down analog-to-digital converter and a simple 16-bit digital-to-analog converter. The Reverb 2016 uses 24-bit oversampling converters. One of the advantages of modern oversampling converters is that they eliminate the requirement for complex anti-aliasing filters. The SP2016 had (required) complex analog filters with non-linear phase at high audio frequencies.
To restore factory presets, hold the 'System' key while powering up. The display will read "FAC" and the 'System' LED will blink while restore is in progress. Note that restoring factory presets will overwrite all presets including any user presets.
The Reverb 2016 can store up to 99 presets. Units shipped from the factory are programmed with unique presets stored in locations 1-89. Preset numbers 90-99 are blank. We recommend saving user presets in locations 90-99. Presets 1-89 can be overwritten if desired.
The original Room and Plate algorithms did not have EQ or diffusion controls, so these parameters are not available in these algorithms. The LEDs are then turned off for these parameters. The original Plate algorithm did not have a position control.
Diffusion simulates different types of reflecting surfaces. At its minimum setting, the reflections are hard and discrete as if the surface were composed of a hard flat surface (tile, metal, glass). At maximum setting, the reflections are complex and spread over time simulating a diffusing surface.
Simulates the effect of being in the front of the enclosure (close to the sound source), at the rear, or any place in between. Note that when using the Stereo or New Stereo algorithms, with signal applied to only one input and input routing set to “bth”, as you move Position towards the front, the output levels will be dramatically different. When using the Stereo algorithms with one input channel, select the appropriate input routing (“in1” or “in2”).
Long Decay time combined with low frequency EQ boost. With decay times >10 seconds, the reverb matrix is on the verge of instability. Boosting the low end sends it over the edge resulting in a low frequency, clipped oscillation. Either back off Decay time or low EQ boost to make it go away.
The Reverb 2016 allows you to select either input 1 or 2 or both as the audio source. This affects the digital input as well as analog and can be handy when you want to feed the product a mono signal. To do this, press the “System” button once. The display will show the current input routing by alternating between “inP” (Input) and the current choice. Turn the preset knob to select either “in1” “in2” or “bth” (both). When “in1” is selected, Channel 1’s input signal is applied to the reverb algorithm and both LED bar graphs monitor Channel 1’s input. Also, Channel 1’s input provides the “dry” signal for the output Mix at each output. When “in2” is selected, Channel 2’s signal provides the source in the same way as described for Channel 1.
When “bth” is selected the routing uses both inputs. For “MONO” algorithms, the inputs are summed and applied to the reverb algorithm. The summed signal provides the dry signal for the Mix control.
With “bth” selected for either the “Stereo” or “New Stereo” reverb types, the two input channels drive the reverb algorithm separately and the LED bar graphs monitor the input channels separately. For the Mix control, each input provides an independent dry signal to its corresponding output channel.
Digital clipping. The reverb algorithms perform lots of additions and the result of any of these operations may exceed the dynamic range of the DSP chip. The result is digital clipping (saturation). The combination of long decay times and low EQ boost are one sure way to achieve digital clipping. In fact, at the extreme the reverb becomes unstable. Occasional digital clipping may not be audible. If it is, back off on the input level, decay time, position, and/or low EQ boost.
It indicates that the reverb algorithm only accepts a Mono source. Use the Input Routing select function in System mode to drive the reverb from channel 1 or channel 2’s input (for mono sources) or the sum of channels 1 and 2 (when using both inputs).
The Kill switch disables the input to the reverb algorithm. Kill solos the reverb ‘tail.’ Kill does not disable the dry contribution to the output mix, so if you’re set to <100% Mix, you’ll still hear dry audio when Kill is on.
Check the rear panel balanced/unbalanced switch. When depressed, this push button switch provides an additional 10dB of gain for instrument level input signals. If you’ve connected a line level source, the analog input stage will clip.