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Joe Albano on Dec 20, in Review 0 comments. The two main types of digital reverb are Algorithmic reverb and Convolution reverb. Logic comes with a generous collection of reverb plug-ins, employing both designs—the flagship plug-ins are Space Designer, representing the convolution side, and the relatively new ChromaVerb, an algorithmic reverb. How do they stack up?

For reverb lovers who may not be fully versed in the underlying technology, algorithmic and convolution reverbs take very different approaches to the creation of artificial reverb.

The particular pattern of the Early Reflections determines the overall character of the reverb; further reflections build up into a dense field of later reverberation that eventually dies away. Algorithmic reverbs create a reverberant sound field from scratch, by building up many digital delays into patterns characteristic of different types of natural reverberation.

Since the reverb is built up from scratch, the user can usually exert comprehensive control over the various components of the reverb, from the delay time of the initial reflection, to the pattern and density of the Early Reflections, to the decay time—the Reverb Time, aka RT60—of the later reflections.

Filters are typically employed to further shape the tonal character of the reverb, and all these adjustable parameters can be saved into various presets, which can either emulate the sound of real rooms and halls and mimic the unique quality of older mechanical reverb devices like plates and springs, or be tweaked for less-natural special effects like reverb pads and swirling soundscapes.

Convolution reverbs, on the other hand, use samples—recordings—of the response of real rooms and spaces as the basis for their reverb sounds. Just as with instrument samplers, the reverb sample is loaded into RAM, and when signal is sent through the reverb individual digital samples of the audio are multiplied sample-by-sample with the individual samples in the IR—a process called Convolution. ChromaVerb provides over a dozen algorithms to choose as starting points in crafting a reverb preset—they range from natural rooms, chambers, halls, and theaters, to more effect-oriented algorithms with names like Strange, Airy and Bloomy.

The algorithms that emulate natural spaces feature Early Reflection patterns and decays typical of real spaces, and range from short 'verbs that consist mainly of ambience—primarily early reflections with little or no later reverb tail—to long, lush halls, including some reminiscent of the classic warm digital reverbs of yesteryear, like the high-end Lexicon units that ruled the roost in the 80s and 90s. The more effect-oriented algorithms may feature fewer natural reflection patterns and buildups but a offer rich sense of space and depth.

For the intrepid tweaker, ChromaVerb is like Christmas come early. Once a particular algorithm is chosen, on the main page there are the usual algorithmic reverb controls for room size and decay, as well as knobs to set reverb attack and density, and apparent distance. On the second Details page there are more interesting options. You can set the level balance between the early reflections and later reverb tail, and adjust the width of the space.

Space Designer has been around for a long time now, but it still stands up as an excellent and capable convolution reverb, with an ever-growing library of IRs. These include a wide range of natural rooms, from music spaces to spaces suitable for post-production, like tunnels, hangars, car interiors and the like. And since IRs are just regular audio files, Space Designer can also use recordings from other sources—there are plenty of third-party IRs out there, many of them available for free.

Any audio file can be used as an IR, and recordings of mechanical sounds or even loops can provide some wild special effects. This is a highly useful feature—instead of rejecting longer IRs from larger rooms when a short, tight reverb is needed, you can simply shorten those decay times, greatly expanding the available collection of IRs.

Some of my favorite SD IRs are shortened versions of larger, longer rooms. Predelay lets you add additional delay before the initial reflection, which can both increase the apparent size of the room and get the reverb out from under the audio signal, for better clarity in a mix.

Both Space Designer and ChromaVerb offer excellent reverb and effects, and either could serve as the main—or only—reverb for a mix. More articles by this author. Joe is a musician, engineer, and producer in NYC. He's also taught all aspects of recording and music technology at several NY audio schools, and has been writing articles for Recording magaz Read More.

Create an account or login to get started! Audio is your ultimate daily resource covering the latest news, reviews, tutorials and interviews for digital music makers, by digital music makers. Log In Create Account. A NonLinear Educating Company. Logic's bundled reverb processors are among the best in the business. But which one should you choose? Joe Albano shares his thoughts Recording an IR.

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