The Motif ES lists 20 reverb names. Measured at the same settings they give 12 different responses, so this board has 12 rows. Every column uses one scale from top to bottom, so anything that looks bigger, longer or brighter in one row than in another really is.
In plain terms: read across a row to get one reverb's character, read down a column to compare all of them on one quality. Click a column title to sort by it; click a row to open that reverb's controls. Under the board: each reverb's controls setting by setting, then 13 detailed charts, closed until you open them.
Reverbclick a row for its controlsWhat comes back after one click. Left above the line, right below. Separate spikes are separate reflections.When the separate reflections close up into a continuous sound. Short = smooth from the start.Three seconds of tail: pitch bottom to top, bright while that pitch still sounds. A shape that narrows downward is a tail going dark.Time to fall 30 dB, bass on the left to treble on the right. A line falling to the right loses its treble first.Bright = both sides the same (sits in the middle). Dark = the two sides unrelated (wide).1.00× is as smooth as random noise of the same tone. Higher is grainier.The gap between the dry sound and the start of the reverb as Initial Delay is turned from lowest to highest, timed with the dry sound left in. A rising line: the knob moves the start of the reverb later, by about 200 ms over its whole travel. A flat line: this reverb's start did not move with it. The first number is the reverb's own built-in gap.
sort by:
White Room= Basement, Tunnel
First quarter second
Merges into a wash
13 ms
Colour through time
How long each pitch lasts
1.4 s low · 1.5 mid · 0.2 high
Width by pitch
Smoothness
1.69×
Reverb starts after
55 to 255 ms
Canyon
Its own response (close to White Room, 0.93 alike), but it was not given the click and noise takes these columns are drawn from. Its controls are below.
Hall 1= Hall 2
First quarter second
Merges into a wash
53 ms
Colour through time
How long each pitch lasts
1.8 s low · 1.5 mid · 0.3 high
Width by pitch
Smoothness
1.29×
Reverb starts after
14 to 214 ms
Large Hall= Medium Hall
First quarter second
Merges into a wash
43 ms
Colour through time
How long each pitch lasts
1.1 s low · 1.0 mid · 0.5 high
Width by pitch
Smoothness
1.47×
Reverb starts after
36 to 236 ms
Plate
First quarter second
Merges into a wash
13 ms
Colour through time
How long each pitch lasts
1.8 s low · 1.6 mid · 0.1 high
Width by pitch
Smoothness
1.02×
Reverb starts after
1 to 200 ms
R3 Hall
First quarter second
Merges into a wash
93 ms
Colour through time
How long each pitch lasts
2.0 s low · 1.5 mid · 0.9 high
Width by pitch
Smoothness
1.30×
Reverb starts after
14 to 199 ms
R3 Plate
First quarter second
Merges into a wash
43 ms
Colour through time
How long each pitch lasts
1.9 s low · 2.4 mid · 1.6 high
Width by pitch
Smoothness
1.13×
Reverb starts after
1 to 199 ms
R3 Room
First quarter second
Merges into a wash
83 ms
Colour through time
How long each pitch lasts
1.9 s low · 1.8 mid · 1.3 high
Width by pitch
Smoothness
1.27×
Reverb starts after
14 to 199 ms
Rich Plate
First quarter second
Merges into a wash
13 ms
Colour through time
How long each pitch lasts
1.3 s low · 1.6 mid · 1.5 high
Width by pitch
Smoothness
1.69×
Reverb starts after
14 to 14 ms
Room 1= Room 2, Room 3
First quarter second
Merges into a wash
13 ms
Colour through time
How long each pitch lasts
1.7 s low · 1.5 mid · 0.2 high
Width by pitch
Smoothness
1.14×
Reverb starts after
14 to 214 ms
Stage 1= Stage 2
First quarter second
Merges into a wash
63 ms
Colour through time
How long each pitch lasts
1.6 s low · 1.6 mid · 0.4 high
Width by pitch
Smoothness
1.26×
Reverb starts after
13 to 200 ms
Warm Room= Woody Room
First quarter second
Merges into a wash
13 ms
Colour through time
How long each pitch lasts
0.6 s low · 1.1 mid · 0.6 high
Width by pitch
Smoothness
1.38×
Reverb starts after
21 to 221 ms
Controls, setting by setting
One sheet per reverb. Every tested setting of a control sits next to the others on the same axes, with the default setting drawn as a thin line inside each cell, so a small difference between two settings is two neighbouring cells, not two screens.
ring colour: barely changes the soundchanges it a lot▬ first 200 ms after a click▬ tone against the defaultnumber: decay time
White Roomalso sold as Basement, Tunnelevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.08 s
32
3.96 s
64
3.98 s
95
3.97 s
127
3.97 s
decay time 0.08 → 3.97 s; also changes output level by +12.1 dB
Reverb Time
all settings together
low → high
0
0.16 s
17
1.83 s
34
3.59 s
51
5.84 s
69
10.44 s
decay time 0.16 → 5.84 s
Diffusion
all settings together
low → high
0
3.99 s
1
3.98 s
2
3.97 s
3
3.98 s
4
3.97 s
5
3.97 s
6 · default
3.97 s
7
3.97 s
8
3.96 s
9
3.95 s
10
3.99 s
stereo width 0.08 → 0.66
HPF Cutoff
all settings together
low → high
0 · default
3.97 s
13
3.98 s
26
3.97 s
39
3.85 s
52
4.80 s
lowers everything below ~743 Hz by up to 36 dB; also changes output level by -10.9 dB
Feedback
all settings together
low → high
1
8.09 s
32
3.97 s
64 · default
3.97 s
95
3.98 s
127
8.89 s
raises everything below ~42 Hz by up to 13 dB; also changes output level by -5.4 dB by raw 64, then changes output level by +6.0 dB by raw 127
LPF Cutoff
all settings together
low → high
34
3.97 s
40
3.97 s
47
3.97 s
53
3.97 s
60 · default
3.97 s
raises everything above ~5.4 kHz by up to 25 dB
Wall Variation
all settings together
low → high
0
4.07 s
7
4.01 s
15
3.97 s
22
4.03 s
30
4.05 s
stereo width 0.45 → 0.58; also changes output level by -1.4 dB
High Damp
all settings together
low → high
0
3.88 s
1
3.88 s
2
3.92 s
3
3.95 s
4
3.96 s
5
3.96 s
6 · default
3.97 s
7
3.98 s
8
3.99 s
9
3.99 s
10
4.01 s
early energy arrives by 122 → 168 ms
Density
all settings together
low → high
0
3.99 s
1
3.97 s
2
3.98 s
3 · default
3.97 s
4
3.98 s
spectral tilt -0.61 → -0.19 dB/oct
Depth
all settings together
low → high
0
3.63 s
26
4.34 s
52
3.94 s
78
3.86 s
104
4.46 s
decay time 3.63 → 4.46 s; also spectral tilt -0.18 → 0.12 dB/oct
Height
all settings together
low → high
0
4.11 s
26
4.04 s
52
4.05 s
78
4.10 s
104
4.02 s
spectral tilt -0.19 → 0.13 dB/oct
Width
all settings together
low → high
0
4.11 s
26
4.04 s
52
4.05 s
78
4.10 s
104
4.02 s
spectral tilt -0.20 → 0.13 dB/oct
two controls together
HPF Cutoff, with ER Reverb Balance low / high
one changes the other
HPF Cutoff, with Reverb Time low / high
one changes the other
Reverb Time, with ER Reverb Balance low / high
one changes the other
Diffusion, with ER Reverb Balance low / high
one changes the other
HPF Cutoff, with Diffusion low / high
they simply add
Diffusion, with Reverb Time low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay, Reverb Delay.
Canyonevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.08 s
32
3.95 s
64
4.00 s
95
4.01 s
127
4.00 s
raises everything below ~266 Hz by up to 39 dB; also changes output level by +24.9 dB
Reverb Time
all settings together
low → high
0
0.17 s
17
1.85 s
34
3.60 s
51
5.90 s
69
7.72 s
decay time 0.17 → 5.90 s
HPF Cutoff
all settings together
low → high
0 · default
3.99 s
13
4.00 s
26
3.99 s
39
3.96 s
52
4.01 s
lowers everything below ~285 Hz by up to 39 dB; also changes output level by -15.0 dB
Diffusion
all settings together
low → high
0
4.01 s
1
4.00 s
2
4.01 s
3
4.00 s
4
4.00 s
5
4.00 s
6 · default
4.00 s
7
4.00 s
8
3.99 s
9
3.97 s
10
4.01 s
stereo width 0.03 → 0.58
LPF Cutoff
all settings together
low → high
34
4.00 s
40
4.00 s
47
3.99 s
53
3.99 s
60 · default
4.00 s
raises everything above ~5.8 kHz by up to 25 dB
Feedback
all settings together
low → high
1
7.67 s
32
4.00 s
64 · default
4.00 s
95
4.01 s
127
7.28 s
changes output level by -3.5 dB by raw 32, then changes output level by +4.3 dB by raw 127
Wall Variation
all settings together
low → high
0
4.10 s
7
4.06 s
15
3.98 s
22
4.05 s
30
4.08 s
stereo width 0.33 → 0.46; also changes output level by -1.0 dB
High Damp
all settings together
low → high
0
3.91 s
1
3.91 s
2
3.95 s
3
3.98 s
4
3.99 s
5
4.00 s
6 · default
4.00 s
7
4.01 s
8
4.01 s
9
4.03 s
10
4.03 s
early energy arrives by 129 → 169 ms
Depth
all settings together
low → high
0
4.13 s
26
4.06 s
52
4.09 s
78
4.12 s
104
4.07 s
spectral tilt -1.21 → -0.87 dB/oct
Density
all settings together
low → high
0
4.01 s
1
4.00 s
2
4.01 s
3 · default
4.00 s
4
4.01 s
spectral tilt -1.37 → -1.04 dB/oct
Height
all settings together
low → high
0
4.13 s
26
4.06 s
52
4.09 s
78
4.12 s
104
4.07 s
spectral tilt -1.21 → -0.87 dB/oct
Width
all settings together
low → high
0
3.63 s
26
4.32 s
52
4.00 s
78
3.95 s
104
4.37 s
spectral tilt -1.17 → -0.86 dB/oct; also decay time 3.63 → 4.37 s
two controls together
HPF Cutoff, with ER Reverb Balance low / high
one changes the other
Reverb Time, with ER Reverb Balance low / high
one changes the other
HPF Cutoff, with Reverb Time low / high
they simply add
Diffusion, with Reverb Time low / high
one changes the other
Diffusion, with ER Reverb Balance low / high
they simply add
Diffusion, with HPF Cutoff low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay, Reverb Delay.
Hall 1also sold as Hall 2every control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
Reverb Time
all settings together
low → high
0
0.44 s
17
1.97 s
34
3.68 s
51
6.51 s
69
—
decay time 0.44 → 6.51 s
Diffusion
all settings together
low → high
0
4.00 s
1
3.99 s
2
4.00 s
3
3.98 s
4
3.97 s
5
3.96 s
6 · default
3.96 s
7
4.06 s
8
4.01 s
9
3.96 s
10
4.09 s
stereo width 0.12 → 0.71
HPF Cutoff
all settings together
low → high
0 · default
3.96 s
13
3.95 s
26
3.91 s
39
3.91 s
52
4.29 s
lowers everything below ~853 Hz by up to 37 dB; also changes output level by -11.1 dB
Feedback
all settings together
low → high
1
8.58 s
32
3.91 s
64 · default
3.96 s
95
4.07 s
127
9.03 s
lowers a band around 59 Hz by up to 17 dB (~0.3 octaves wide); also changes output level by -8.1 dB by raw 64, then changes output level by +7.7 dB by raw 127
ER Reverb Balance
all settings together
low → high
1
0.26 s
32
3.92 s
64
3.97 s
95
3.96 s
127
3.96 s
changes output level by +4.5 dB; also early energy arrives by 81 → 162 ms
LPF Cutoff
all settings together
low → high
34
3.99 s
40
3.97 s
47
3.96 s
53
3.96 s
60 · default
3.96 s
raises everything above ~4.4 kHz by up to 26 dB
Density
all settings together
low → high
0
4.08 s
1
4.02 s
2
3.96 s
3 · default
3.96 s
4
3.93 s
raises a band around 1.2 kHz by up to 13 dB (~0.6 octaves wide)
High Damp
all settings together
low → high
0
3.77 s
1
3.77 s
2
3.77 s
3
3.84 s
4
3.88 s
5
3.92 s
6 · default
3.96 s
7
3.99 s
8
4.02 s
9
4.10 s
10
4.09 s
spectral tilt 0.03 → 0.48 dB/oct; also changes output level by +1.1 dB
Reverb Delay
all settings together
low → high
0
3.96 s
31
3.96 s
63
3.96 s
95
3.96 s
127
3.96 s
measurable but below practical size: changes output level by -0.3 dB
two controls together
Diffusion, with Reverb Time low / high
one changes the other
Feedback, with HPF Cutoff low / high
they simply add
HPF Cutoff, with Reverb Time low / high
they simply add
HPF Cutoff, with Diffusion low / high
they simply add
Feedback, with Reverb Time low / high
one changes the other
Feedback, with Diffusion low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
Large Hallalso sold as Medium Hallevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
HPF Cutoff
all settings together
low → high
0 · default
2.57 s
13
2.56 s
26
2.51 s
39
3.01 s
52
3.75 s
lowers everything below ~648 Hz by up to 45 dB; also changes output level by -13.9 dB
Reverb Time
all settings together
low → high
0
0.27 s
17
1.20 s
34
2.13 s
51
3.09 s
69
6.01 s
decay time 1.20 → 6.01 s; also changes output level by +6.7 dB
Low Ratio
all settings together
low → high
0
2.04 s
1
2.04 s
2
2.08 s
3
2.15 s
4
2.22 s
5
2.28 s
6
2.36 s
7
2.43 s
8 · default
2.57 s
9
2.66 s
10
2.79 s
11
3.05 s
12
3.47 s
13
3.47 s
14
3.47 s
raises everything below ~743 Hz by up to 16 dB; also changes output level by +7.5 dB
High Ratio
all settings together
low → high
0
2.41 s
1
2.41 s
2
2.39 s
3
2.40 s
4
2.43 s
5
2.54 s
6 · default
2.57 s
7
2.58 s
8
2.59 s
9
2.62 s
10
2.63 s
raises everything above ~4.7 kHz by up to 26 dB; also changes output level by +4.7 dB
Room Size
all settings together
low → high
0
1.51 s
7
2.14 s
15
3.56 s
23
2.83 s
31
3.51 s
decay time 1.51 → 3.51 s; also early energy arrives by 82 → 177 ms
LPF Cutoff
all settings together
low → high
34
2.50 s
40
2.58 s
47
2.58 s
53
2.58 s
60 · default
2.57 s
spectral tilt -1.31 → -0.25 dB/oct; also changes output level by +1.8 dB
Decay
all settings together
low → high
0
2.55 s
15
2.55 s
31
2.55 s
47
2.59 s
63
2.61 s
changes output level by +2.4 dB
Diffusion
all settings together
low → high
0
2.50 s
1
2.51 s
2
2.51 s
3
2.55 s
4
2.55 s
5
2.57 s
6 · default
2.57 s
7
2.55 s
8
2.55 s
9
2.51 s
10
2.51 s
changes output level by +1.2 dB
two controls together
High Ratio, with HPF Cutoff low / high
one changes the other
Low Ratio, with HPF Cutoff low / high
one changes the other
Low Ratio, with Reverb Time low / high
one changes the other
Reverb Time, with HPF Cutoff low / high
they simply add
High Ratio, with Reverb Time low / high
they simply add
High Ratio, with Low Ratio low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
Plateevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.14 s
32
4.07 s
64
4.05 s
95
4.05 s
127
4.05 s
decay time 0.14 → 4.05 s
Reverb Time
all settings together
low → high
0
0.30 s
17
1.99 s
34
3.75 s
51
6.85 s
69
—
decay time 0.30 → 6.85 s
HPF Cutoff
all settings together
low → high
0 · default
4.05 s
13
4.05 s
26
4.06 s
39
4.03 s
52
4.65 s
lowers everything below ~913 Hz by up to 37 dB; also changes output level by -13.8 dB
Diffusion
all settings together
low → high
0
4.07 s
1
4.07 s
2
4.07 s
3
4.05 s
4
4.05 s
5
4.06 s
6 · default
4.05 s
7
4.05 s
8
4.07 s
9
4.04 s
10
4.05 s
stereo width 0.22 → 0.69
Feedback
all settings together
low → high
1
8.31 s
32
4.08 s
64 · default
4.05 s
95
4.05 s
127
10.06 s
raises a band around 117 Hz by up to 14 dB (~1.1 octaves wide); also changes output level by -7.8 dB by raw 64, then changes output level by +5.6 dB by raw 127
LPF Cutoff
all settings together
low → high
34
4.05 s
40
4.05 s
47
4.04 s
53
4.04 s
60 · default
4.05 s
raises everything above ~4.4 kHz by up to 26 dB
High Damp
all settings together
low → high
0
3.95 s
1
3.95 s
2
3.99 s
3
4.03 s
4
4.05 s
5
4.04 s
6 · default
4.05 s
7
4.07 s
8
4.07 s
9
4.09 s
10
4.10 s
spectral tilt -0.55 → 0.30 dB/oct; also changes output level by +1.8 dB
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
R3 Hallevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.11 s
32
4.41 s
64
4.33 s
95
4.33 s
127
4.33 s
decay time 0.11 → 4.33 s
Reverb Time
all settings together
low → high
0
0.42 s
17
2.20 s
34
4.07 s
51
7.75 s
69
—
decay time 0.42 → 7.75 s
Feedback
all settings together
low → high
1
—
32
4.19 s
64 · default
4.33 s
95
4.51 s
127
—
changes output level by -11.4 dB by raw 64, then changes output level by +12.6 dB by raw 127
Diffusion
all settings together
low → high
0
4.36 s
1
4.36 s
2
4.36 s
3
4.36 s
4
4.35 s
5
4.35 s
6 · default
4.33 s
7
4.31 s
8
4.30 s
9
4.25 s
10
4.45 s
stereo width 0.11 → 0.69
HPF Cutoff
all settings together
low → high
0 · default
4.33 s
13
4.38 s
26
4.36 s
39
4.20 s
52
4.04 s
lowers everything below ~1.2 kHz by up to 33 dB; also changes output level by -9.5 dB
Reverb Delay
all settings together
low → high
0
4.33 s
31
4.33 s
63
4.34 s
95
4.33 s
127
4.33 s
early energy arrives by 181 → 44 ms
LPF Cutoff
all settings together
low → high
34
4.32 s
40
4.32 s
47
4.32 s
53
4.32 s
60 · default
4.33 s
raises everything above ~4.4 kHz by up to 26 dB
Density
all settings together
low → high
0
4.37 s
1
4.35 s
2
4.36 s
3 · default
4.33 s
4
4.32 s
lowers everything below ~63 Hz by up to 15 dB
High Damp
all settings together
low → high
0
4.27 s
1
4.27 s
2
4.26 s
3
4.30 s
4
4.31 s
5
4.32 s
6 · default
4.33 s
7
4.33 s
8
4.34 s
9
4.34 s
10
4.35 s
changes output level by +0.7 dB
two controls together
Diffusion, with Feedback low / high
one changes the other
Reverb Time, with ER Reverb Balance low / high
one changes the other
Diffusion, with Reverb Time low / high
one changes the other
Feedback, with Reverb Time low / high
one changes the other
Feedback, with ER Reverb Balance low / high
one changes the other
Diffusion, with ER Reverb Balance low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
R3 Plateevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
Reverb Time
all settings together
low → high
0
0.43 s
17
2.91 s
34
5.63 s
51
9.82 s
69
3.46 s
decay time 0.43 → 9.82 s
Reverb Delay
all settings together
low → high
0
6.10 s
31
6.11 s
63
6.11 s
95
6.11 s
127
6.11 s
early energy arrives by 176 → 6 ms
ER Reverb Balance
all settings together
low → high
1
0.02 s
32
6.10 s
64
6.11 s
95
6.11 s
127
6.11 s
early energy arrives by 6 → 168 ms
Diffusion
all settings together
low → high
0
6.20 s
1
6.19 s
2
6.18 s
3
6.13 s
4
5.95 s
5
5.25 s
6 · default
6.11 s
7
—
8
6.21 s
9
6.21 s
10
6.22 s
lowers a band around 176 Hz by up to 10 dB (~1.1 octaves wide); also stereo width 0.13 → 0.69
Feedback
all settings together
low → high
1
—
32
6.12 s
64 · default
6.11 s
95
5.94 s
127
—
changes output level by -12.3 dB by raw 64, then changes output level by +12.3 dB by raw 127
HPF Cutoff
all settings together
low → high
0 · default
6.11 s
13
6.13 s
26
6.18 s
39
6.12 s
52
5.81 s
lowers everything below ~1.2 kHz by up to 34 dB; also changes output level by -9.3 dB
LPF Cutoff
all settings together
low → high
34
6.04 s
40
6.08 s
47
6.10 s
53
6.10 s
60 · default
6.11 s
raises everything above ~4.7 kHz by up to 26 dB
High Damp
all settings together
low → high
0
4.85 s
1
4.85 s
2
5.28 s
3
5.78 s
4
5.88 s
5
6.03 s
6 · default
6.11 s
7
6.13 s
8
6.13 s
9
6.15 s
10
6.16 s
changes output level by +1.4 dB; also decay time 4.85 → 6.16 s
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
R3 Roomevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.06 s
32
4.32 s
64
4.24 s
95
4.24 s
127
4.24 s
decay time 0.06 → 4.24 s
Reverb Time
all settings together
low → high
0
0.30 s
17
2.20 s
34
3.97 s
51
6.92 s
69
—
decay time 0.30 → 6.92 s
Feedback
all settings together
low → high
1
—
32
4.13 s
64 · default
4.23 s
95
4.26 s
127
—
changes output level by -11.5 dB by raw 64, then changes output level by +11.8 dB by raw 127
Diffusion
all settings together
low → high
0
4.21 s
1
4.09 s
2
4.08 s
3
4.09 s
4
4.11 s
5
4.12 s
6 · default
4.23 s
7
4.17 s
8
4.15 s
9
4.20 s
10
4.20 s
stereo width 0.12 → 0.66
HPF Cutoff
all settings together
low → high
0 · default
4.23 s
13
4.20 s
26
4.16 s
39
4.17 s
52
4.42 s
lowers everything below ~1.3 kHz by up to 32 dB; also changes output level by -9.3 dB
Reverb Delay
all settings together
low → high
0
4.24 s
31
4.23 s
63
4.23 s
95
4.24 s
127
4.23 s
early energy arrives by 183 → 42 ms
LPF Cutoff
all settings together
low → high
34
4.26 s
40
4.24 s
47
4.23 s
53
4.23 s
60 · default
4.23 s
raises everything above ~4.4 kHz by up to 26 dB
Density
all settings together
low → high
0
4.24 s
1
4.16 s
2
4.22 s
3 · default
4.24 s
4
4.23 s
raises a band around 1.1 kHz by up to 10 dB (~0.4 octaves wide); also stereo width 0.62 → 0.68
High Damp
all settings together
low → high
0
4.09 s
1
4.09 s
2
4.13 s
3
4.18 s
4
4.20 s
5
4.22 s
6 · default
4.23 s
7
4.24 s
8
4.24 s
9
4.24 s
10
4.24 s
changes output level by +1.5 dB
two controls together
Reverb Time, with ER Reverb Balance low / high
one changes the other
Diffusion, with Reverb Time low / high
one changes the other
Feedback, with Reverb Time low / high
one changes the other
Diffusion, with Feedback low / high
one changes the other
Feedback, with ER Reverb Balance low / high
one changes the other
Diffusion, with ER Reverb Balance low / high
one changes the other
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
Rich Plateevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
Reverb Time
all settings together
low → high
0
0.85 s
17
2.46 s
34
3.77 s
51
7.25 s
69
—
decay time 0.85 → 7.25 s; also changes output level by +11.3 dB
Room Size
all settings together
low → high
0
0.91 s
7
1.97 s
15
3.37 s
23
4.93 s
31
6.37 s
decay time 0.91 → 6.37 s
HPF Cutoff
all settings together
low → high
0 · default
4.16 s
13
4.16 s
26
4.20 s
39
4.33 s
52
4.83 s
lowers everything below ~1.8 kHz by up to 27 dB; also changes output level by -8.2 dB
Initial Delay
all settings together
low → high
0
4.16 s
31
4.16 s
63
4.16 s
95
4.16 s
127
4.16 s
early energy arrives by 181 → 40 ms
Low Ratio
all settings together
low → high
0
4.05 s
1
4.04 s
2
4.05 s
3
4.06 s
4
4.09 s
5
4.11 s
6
4.12 s
7
4.15 s
8 · default
4.16 s
9
4.18 s
10
4.17 s
11
4.17 s
12
4.17 s
13
4.17 s
14
4.17 s
raises a band around 125 Hz by up to 14 dB (~4.3 octaves wide); also changes output level by +6.1 dB
LPF Cutoff
all settings together
low → high
34
4.13 s
40
4.12 s
47
4.14 s
53
4.16 s
60 · default
4.16 s
spectral tilt 0.22 → 1.22 dB/oct; also changes output level by +2.9 dB
High Ratio
all settings together
low → high
0
3.86 s
1
3.85 s
2
4.05 s
3
4.13 s
4
4.15 s
5
4.16 s
6 · default
4.16 s
7
4.16 s
8
4.16 s
9
4.16 s
10
4.16 s
spectral tilt 0.47 → 1.35 dB/oct; also changes output level by +2.5 dB
Diffusion
all settings together
low → high
0
4.16 s
1
4.17 s
2
4.17 s
3
4.16 s
4
4.16 s
5
4.16 s
6 · default
4.16 s
7
4.16 s
8
4.17 s
9
4.16 s
10
4.16 s
changes output level by -1.5 dB by raw 5, then changes output level by +1.8 dB by raw 10
Decay
all settings together
low → high
0
4.16 s
15
4.16 s
31
4.16 s
47
4.15 s
63
4.16 s
measurable but below practical size: stereo width 0.71 → 0.71
two controls together
Room Size, with Reverb Time low / high
one changes the other
HPF Cutoff, with Room Size low / high
one changes the other
Initial Delay, with HPF Cutoff low / high
they simply add
Initial Delay, with Room Size low / high
they simply add
Initial Delay, with Reverb Time low / high
they simply add
HPF Cutoff, with Reverb Time low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Room 1also sold as Room 2, Room 3every control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
ER Reverb Balance
all settings together
low → high
1
0.08 s
32
4.42 s
64
4.45 s
95
4.45 s
127
4.45 s
decay time 0.08 → 4.45 s
Reverb Time
all settings together
low → high
0
0.32 s
17
1.86 s
34
4.10 s
51
7.08 s
69
—
decay time 0.32 → 7.08 s
HPF Cutoff
all settings together
low → high
0 · default
4.46 s
13
4.43 s
26
4.26 s
39
3.84 s
52
4.84 s
lowers everything below ~605 Hz by up to 45 dB; also changes output level by -12.5 dB
Diffusion
all settings together
low → high
0
4.16 s
1
4.13 s
2
4.14 s
3
4.20 s
4
4.27 s
5
4.38 s
6 · default
4.46 s
7
4.24 s
8
3.95 s
9
3.91 s
10
4.00 s
stereo width 0.09 → 0.70
Feedback
all settings together
low → high
1
9.00 s
32
4.61 s
64 · default
4.46 s
95
4.28 s
127
10.18 s
changes output level by -7.0 dB by raw 64, then changes output level by +6.7 dB by raw 127; also decay time 4.61 → 10.18 s
LPF Cutoff
all settings together
low → high
34
4.45 s
40
4.46 s
47
4.45 s
53
4.45 s
60 · default
4.46 s
raises everything above ~4.4 kHz by up to 24 dB
Density
all settings together
low → high
0
4.45 s
1
4.43 s
2
4.43 s
3 · default
4.46 s
4
4.46 s
raises a band around 1.1 kHz by up to 15 dB (~0.5 octaves wide)
High Damp
all settings together
low → high
0
4.38 s
1
4.38 s
2
4.41 s
3
4.43 s
4
4.45 s
5
4.45 s
6 · default
4.46 s
7
4.46 s
8
4.46 s
9
4.47 s
10
4.47 s
spectral tilt -0.63 → 0.04 dB/oct; also early energy arrives by 124 → 174 ms
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
Stage 1also sold as Stage 2every control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
Reverb Time
all settings together
low → high
0
0.49 s
17
1.96 s
34
3.78 s
51
6.82 s
69
—
decay time 0.49 → 6.82 s
Diffusion
all settings together
low → high
0
4.12 s
1
4.16 s
2
4.14 s
3
4.14 s
4
4.13 s
5
4.11 s
6 · default
4.11 s
7
4.12 s
8
4.13 s
9
4.09 s
10
4.01 s
stereo width 0.08 → 0.78
ER Reverb Balance
all settings together
low → high
1
0.35 s
32
4.11 s
64
4.11 s
95
4.11 s
127
4.11 s
decay time 0.35 → 4.11 s; also changes output level by +11.8 dB
HPF Cutoff
all settings together
low → high
0 · default
4.11 s
13
4.10 s
26
4.06 s
39
3.99 s
52
4.02 s
lowers everything below ~45 Hz by up to 38 dB; also changes output level by -12.6 dB
Feedback
all settings together
low → high
1
5.34 s
32
4.09 s
64 · default
4.11 s
95
4.11 s
127
9.38 s
changes output level by -9.0 dB by raw 64, then changes output level by +5.7 dB by raw 127
LPF Cutoff
all settings together
low → high
34
4.12 s
40
4.11 s
47
4.11 s
53
4.11 s
60 · default
4.11 s
raises everything above ~4.7 kHz by up to 27 dB
Density
all settings together
low → high
0
4.15 s
1
4.11 s
2
4.11 s
3 · default
4.11 s
4
4.08 s
raises a band around 1.1 kHz by up to 14 dB (~0.6 octaves wide)
measurable but below practical size: stereo width 0.57 → 0.57
two controls together
ER Reverb Balance, with Reverb Time low / high
one changes the other
HPF Cutoff, with ER Reverb Balance low / high
they simply add
ER Reverb Balance, with Diffusion low / high
they simply add
HPF Cutoff, with Diffusion low / high
they simply add
HPF Cutoff, with Reverb Time low / high
they simply add
Diffusion, with Reverb Time low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Warm Roomalso sold as Woody Roomevery control, every tested setting
Each row is one control. Its ring is its travel, coloured by how much the sound changes along it. To the right, first every tested setting of that control overlaid (its tone against the default, low setting cyan to high setting amber; ▶ play steps through them one at a time and marks the matching cell), then one cell per tested setting: on top the first 200 ms after a click (thin line = the default setting), under it the change in tone against the default (flat = no change; above the line = brighter at that pitch), and the decay time where it could be read.
Reverb Time
all settings together
low → high
0
0.45 s
17
1.72 s
34
3.55 s
51
4.74 s
69
7.16 s
decay time 0.45 → 7.16 s
HPF Cutoff
all settings together
low → high
0 · default
4.04 s
13
4.02 s
26
3.86 s
39
3.79 s
52
2.82 s
lowers everything below ~1.3 kHz by up to 32 dB; also changes output level by -13.6 dB
Low Ratio
all settings together
low → high
0
2.57 s
1
2.57 s
2
2.72 s
3
2.89 s
4
3.06 s
5
3.26 s
6
3.46 s
7
3.68 s
8 · default
4.04 s
9
4.32 s
10
4.57 s
11
4.56 s
12
4.56 s
13
4.56 s
14
4.56 s
raises everything below ~1.1 kHz by up to 10 dB; also changes output level by +7.3 dB
High Ratio
all settings together
low → high
0
3.63 s
1
3.63 s
2
3.75 s
3
3.84 s
4
3.92 s
5
4.00 s
6 · default
4.04 s
7
4.06 s
8
4.08 s
9
4.15 s
10
4.06 s
raises everything above ~4.4 kHz by up to 26 dB; also changes output level by +4.7 dB
Diffusion
all settings together
low → high
0
3.95 s
1
3.97 s
2
3.99 s
3
4.02 s
4
4.03 s
5
4.04 s
6 · default
4.04 s
7
4.02 s
8
4.00 s
9
3.97 s
10
3.92 s
changes output level by -4.1 dB by raw 6, then changes output level by +2.6 dB by raw 10
LPF Cutoff
all settings together
low → high
34
4.07 s
40
4.04 s
47
4.04 s
53
4.04 s
60 · default
4.04 s
spectral tilt -1.23 → -0.20 dB/oct; also changes output level by +1.8 dB
Room Size
all settings together
low → high
0
3.57 s
7
3.06 s
15
3.59 s
23
3.90 s
31
3.31 s
early energy arrives by 85 → 177 ms; also lowers everything below ~59 Hz by up to 17 dB
Decay
all settings together
low → high
0
4.09 s
15
4.07 s
31
4.04 s
47
4.03 s
63
3.99 s
changes output level by +1.9 dB; also spectral tilt -0.25 → 0.09 dB/oct
two controls together
High Ratio, with HPF Cutoff low / high
one changes the other
Low Ratio, with Reverb Time low / high
one changes the other
High Ratio, with Reverb Time low / high
they simply add
Low Ratio, with HPF Cutoff low / high
they simply add
High Ratio, with Low Ratio low / high
they simply add
HPF Cutoff, with Reverb Time low / high
they simply add
Every pair of controls that was recorded at all four corners (each at its low and its high test setting). A cell is what the second control does to the tone, bass left to treble right: cyan with the first control low, amber with it high. The two lines lying on each other means the controls simply add; lines apart means one changes what the other does. The pairs furthest apart come first. On an effect that moves by itself some of the gap is the movement caught at a different moment.
Not shown, because these recordings show no measurable change from them: Initial Delay.
Detailed charts
The measurements behind the board, at full size, each with what it shows, how to read it and what it found.
In plain terms: the board gives the comparison at a glance; open one of these when you want the full picture of a single quality.
The first quarter second after one click
What it shows. One click into each distinct reverb engine at its default settings, and what comes back over the next quarter second. The recording is the reverb alone, so time is counted from the first sound that returns, not from the click.
How to read it. Each bump is a separate reflection: the left side is drawn above the line and the right below it. Widely spaced bumps are heard as distinct slaps, the size of the space; bumps crowding together are the reverb turning into a smooth wash. Where left and right differ, the reflections arrive from different directions. Use the slider to change reverb.
What it found.
Hall 1: next return 14 ms after the first, 10 separate returns in the first 50 ms; silence between returns until 43 ms, continuous after that; after 200 ms it is still at 41% of its largest.
Large Hall: next return 11 ms after the first, 6 separate returns in the first 50 ms; silence between returns until 31 ms, continuous after that; after 200 ms it is still at 32% of its largest.
Plate: next return 7 ms after the first, 16 separate returns in the first 50 ms; no silence between returns at all; after 200 ms it is still at 31% of its largest.
R3 Hall: next return 17 ms after the first, 4 separate returns in the first 50 ms; silence between returns until 78 ms, continuous after that; after 200 ms it is still at 38% of its largest.
R3 Plate: next return 6 ms after the first, 3 separate returns in the first 50 ms; silence between returns until 37 ms, continuous after that; after 200 ms it is still at 28% of its largest.
R3 Room: next return 17 ms after the first, 5 separate returns in the first 50 ms; silence between returns until 70 ms, continuous after that; after 200 ms it is still at 42% of its largest.
Rich Plate: next return 19 ms after the first, 9 separate returns in the first 50 ms; no silence between returns at all; after 200 ms it is still at 24% of its largest.
Room 1: next return 7 ms after the first, 13 separate returns in the first 50 ms; silence between returns until 4 ms, continuous after that; after 200 ms it is still at 29% of its largest.
Stage 1: next return 15 ms after the first, 10 separate returns in the first 50 ms; silence between returns until 48 ms, continuous after that; after 200 ms it is still at 46% of its largest.
Warm Room: next return 13 ms after the first, 11 separate returns in the first 50 ms; silence between returns until 6 ms, continuous after that; after 200 ms it is still at 37% of its largest.
White Room: next return 7 ms after the first, 10 separate returns in the first 50 ms; silence between returns until 4 ms, continuous after that; after 200 ms it is still at 23% of its largest.
How quickly separate reflections merge into a wash
What it shows. One click into each reverb engine at its default settings. Each 10 ms after the first sound returns is scored by how much of it has something sounding (above a twentieth of the largest return).
How to read it. A line low on the chart means separate slaps with silence between them; a line at 100% means the returns have merged and there are no gaps left. The sooner a line reaches the top and stays there, the sooner the reverb stops sounding like a place with walls and starts sounding like a wash. Cyan lines merge soonest, amber last.
What it found.
Plate, Rich Plate, Room 1, Warm Room, White Room are continuous within 13 ms: no audible separate reflections.
Large Hall (43 ms), R3 Plate (43 ms), Hall 1 (53 ms), Stage 1 (63 ms), R3 Room (83 ms), R3 Hall (93 ms) keep separate reflections longest.
A click is about 2 ms long by the time it is recorded, so returns closer together than that cannot be told apart and 100% here means no gap longer than about 2 ms.
The tail's colour through time
What it shows. Pink noise through each reverb engine at its default settings, cut dead. The map shows what is left in every third-octave band, every 60 ms from the moment the noise stops.
How to read it. Time runs left to right, pitch bottom to top. Bright means that band is still near the level it had with the noise on; dark means it has died away. A bright region that reaches further right at the bottom than at the top is a tail that turns dark as it dies. Hatched cells are within 10 dB of the recording's own noise. Use the slider to change reverb.
What it found.
Hall 1: 30 dB down after 1.83 s at 125 Hz, 1.53 s at 1 kHz, 0.33 s at 8 kHz.
Large Hall: 30 dB down after 1.11 s at 125 Hz, 0.99 s at 1 kHz, 0.51 s at 8 kHz.
Plate: 30 dB down after 1.83 s at 125 Hz, 1.59 s at 1 kHz, 0.09 s at 8 kHz.
R3 Hall: 30 dB down after 2.01 s at 125 Hz, 1.53 s at 1 kHz, 0.93 s at 8 kHz.
R3 Plate: 30 dB down after 1.89 s at 125 Hz, 2.37 s at 1 kHz, 1.59 s at 8 kHz.
R3 Room: 30 dB down after 1.89 s at 125 Hz, 1.83 s at 1 kHz, 1.29 s at 8 kHz.
Rich Plate: 30 dB down after 1.35 s at 125 Hz, 1.59 s at 1 kHz, 1.53 s at 8 kHz.
Room 1: 30 dB down after 1.71 s at 125 Hz, 1.47 s at 1 kHz, 0.21 s at 8 kHz.
Stage 1: 30 dB down after 1.65 s at 125 Hz, 1.59 s at 1 kHz, 0.39 s at 8 kHz.
Warm Room: 30 dB down after 0.63 s at 125 Hz, 1.05 s at 1 kHz, 0.57 s at 8 kHz.
White Room: 30 dB down after 1.41 s at 125 Hz, 1.53 s at 1 kHz, 0.21 s at 8 kHz.
The spectrum frozen every 150 ms as the tail dies
What it shows. The same takes, as the spectrum of the tail frozen at eleven moments 150 ms apart (cyan first, amber last).
How to read it. Each line is the tail's tone at one moment; the lines step downward as the tail dies. Lines that stay the same shape and simply sink are a tail whose colour does not change. Lines that pivot, falling faster on the right, are a tail losing its treble first. A line stops where its band has sunk into the recording's noise.
What it found.
The bass outlasts the treble most in Plate (20 times as long at 125 Hz as at 8 kHz) and least in Rich Plate (0.9 times).
How alike the two sides are, by pitch
What it shows. Pink noise, the same in both speakers, into each reverb engine; the reverb's left and right outputs compared in each octave band, over the last second and a half of the noise and the tail after it.
How to read it. +1 means the two sides carry the same sound in that band (it sits in the middle, like mono); 0 means they are unrelated (as wide as it can be); below 0 means they tend to move in opposite directions. Bright cells are narrow, dark cells wide.
What it found.
Nearly the same on both sides in the bass (above +0.5 at 125 Hz): Hall 1, Plate, R3 Hall, R3 Plate, R3 Room, Room 1, Stage 1, White Room.
Unrelated at every pitch, the bass included: Large Hall, Rich Plate, Warm Room.
From 1 kHz up every engine is close to unrelated (average −0.03).
Leaning opposite: Plate at 1,000 Hz (−0.43), R3 Plate at 1,000 Hz (−0.54).
The lowest band holds few independent stretches of sound in this time, so its figure is good to about ±0.1.
Does the tail get wider as it dies?
What it shows. The same comparison over the whole range of pitch, in windows a tenth of a second long, from half a second before the noise stops to a second and a half after.
How to read it. A line that falls after 0 would be a reverb that gets wider as it rings out; a level line is one whose width does not change. Each line is the average of three takes at different loudness.
What it found.
No engine changes: between the first and the second half-second of the tail the largest shift is 0.10, inside the wobble of the lines themselves.
The width is built into each engine and is the same while the sound plays and after it stops.
The three takes agree to within 0.04, so it does not depend on loudness either.
The overall figure sits well above 0 for the engines with a narrow bass because pink noise has most of its energy there.
Left against right, the first half second of the tail
What it shows. Two thousand instants from the first half second of each tail: where the left side was (across) against where the right side was at the same instant (up).
How to read it. A cloud stretched along the rising dotted line means the two sides mostly move together (narrow); a round cloud means they are unrelated (wide); a cloud along the falling line would mean one side is the other turned upside down, a trick for faking width that collapses in mono. Use the slider to change reverb.
What it found.
No engine draws a cloud along the falling line: none relies on turning one side upside down.
Large Hall, Rich Plate, Warm Room draw round clouds; Hall 1, Plate, R3 Hall, R3 Plate, R3 Room, Room 1, Stage 1, White Room draw clouds leaning along the rising line, which is their shared bass.
How smooth each tail is
What it shows. One click into each engine; the part of the tail from 0.12 to 0.72 s after the first return. Its level is followed 5 ms at a time and the wobble about its smooth fall is measured, then compared with the wobble of random noise that has the same tone and the same fall (thirty versions, made from the tail itself).
How to read it. A bar at the dotted line is a tail as smooth as it is possible to be: it wobbles no more than chance. A taller bar is a tail with lumps in it, heard as graininess or flutter on short sounds. The thin marks show how far the noise yardstick itself varies.
What it found.
As smooth as noise: Plate, R3 Plate, Room 1.
Roughest: White Room (1.69 times) and Rich Plate (1.69 times).
In order: Plate 1.02, R3 Plate 1.13, Room 1 1.14, Stage 1 1.26, R3 Room 1.27, Hall 1 1.29, R3 Hall 1.30, Warm Room 1.38, Large Hall 1.47, Rich Plate 1.69, White Room 1.69.
The Reverb Time control against what Yamaha's table says it gives
What it shows. Noise cut dead through two engines at seven Reverb Time settings, with the time each octave band takes to fall 60 dB set against the time Yamaha's data list gives for that setting.
How to read it. Points on the dotted line decay exactly as documented. Above the line the tail lasts longer than the label says, below it shorter. The four lines are four pitches (cyan lowest); where they fan apart, the label describes one pitch range and not the others. Use the slider to change reverb.
What it found.
Hall 1: at 250 Hz the tail lasts 99% of the documented time, at 2 kHz 88% (medians over the settings from 1.2 s up); the shortest setting, documented as 0.3 s, measures 0.47 s at 500 Hz.
R3 Hall: at 250 Hz the tail lasts 111% of the documented time, at 2 kHz 98% (medians over the settings from 1.2 s up); the shortest setting, documented as 0.3 s, measures 0.33 s at 500 Hz.
Twenty names, compared pair by pair
What it shows. The first 170 ms of every reverb algorithm's response to the same test signal, each compared with every other. Algorithms that share a set of controls were captured with every control at the same value.
How to read it. Each cell is one pair: 1.00 means the two names produced the same response, so they are one piece of processing under two names; a figure near 0 means they have nothing in common. Matching names are placed next to each other, so each block of bright cells along the diagonal is one reverb.
What it found.
The 20 names give 12 different responses.
The same at the same settings: Basement = Tunnel = White Room; Hall 1 = Hall 2; Large Hall = Medium Hall; Room 1 = Room 2 = Room 3; Stage 1 = Stage 2; Warm Room = Woody Room.
On their own: Canyon, Plate, R3 Hall, R3 Plate, R3 Room, Rich Plate.
Close but not the same: Canyon and Basement (0.93), Tunnel and Canyon (0.93), White Room and Canyon (0.93); a pair like that is the same design with something small changed.
There is nothing in between: apart from those, no pair scores between 0.2 and 0.9 (the largest unrelated score is 0.13).
Names in one block still differ as presets, because their factory default values differ.
Decay time over each 10 dB of the fall
What it shows. How fast each reverb dies away, measured separately over each 10 dB of its fall after a tone stops, at default settings. Every cell is expressed as the time a full 60 dB decay would take at that rate, so a reverb that decays at one steady rate has the same number all the way across.
How to read it. One row per reverb, longest at the top; left to right follows the decay from its start down to −40 dB. Brighter amber is a slower decay. A row that brightens to the right has a tail that hangs on longer than its start suggests; a row that darkens falls away faster as it fades.
What it found.
Steady, single-rate decays (all four stretches within 15% of each other): R3 Plate, R3 Room, Rich Plate, Plate, Canyon, White Room, Hall 2, Hall 1, Basement, Tunnel.
Tails that slow down: Warm Room (2.8 s at the start, 4.0 s later); Woody Room (2.8 s at the start, 4.0 s later).
The rest wander by more than 15% without a clear trend.
A single reverb-time figure describes the first group well and hides what the others do.
Below −40 dB the recording's noise floor takes over, so the matrix stops there; the last column is the one most affected by the noise correction.
Decay time in each octave band
What it shows. Two seconds of pink noise cut dead, through each of the eleven distinct reverb engines at default settings. Each cell is how long that octave band takes to die away (scaled to a 60 dB fall, fitted from 5 to 25 dB down).
How to read it. One row per reverb, longest at the top; bass on the left, treble on the right. Brighter amber is a longer decay. A row that darkens to the right is a reverb whose treble dies first, as in a real room; an even row keeps its treble ringing as long as its bass.
What it found.
Treble lasts longest in Rich Plate (3.7 s at 8 kHz against 4.1 s at 500 Hz); R3 Plate (4.5 s at 8 kHz against 5.6 s at 500 Hz); R3 Room (3.1 s at 8 kHz against 4.1 s at 500 Hz).
It dies fastest in Plate (1.1 s against 4.0 s); Room 1 (1.4 s against 4.1 s); White Room (1.5 s against 4.0 s).
Played 12 and 24 dB quieter, every band that can be read at all three levels decays in the same time to within 1.2%: the reverbs are linear, with no level-dependent behaviour in the tail.
This reading comes from a different probe (cut-off noise, not the tone release used in the matrix above) and reaches the 8 kHz band, which the tone could not.
Which controls depend on each other
What it shows. Every pair of controls that was recorded at all four corners, each control at its low and its high test setting, for the Reverb effects. For each pair: what the second control does to the tone with the first one low, what it does with the first one high, and how far apart those two are as a share of the larger.
How to read it. One dot is one pair; hover for which. At the left edge the second control does the same thing wherever the first one is, so the two simply add. At the right edge it does something at one end of the first control and nothing, or the opposite, at the other. The same pairs are drawn as curves on each effect's sheet above, under two controls together.
What it found.
Of 120 pairs in which the second control changes the tone, 63 are ones where the first control changes what the second does.
The pair furthest apart is HPF Cutoff with ER Reverb Balance on Basement.
Tone only is compared, smoothed over about two thirds of an octave, so a change in timing alone does not show here.
On an effect that moves by itself part of any gap is the movement caught at a different moment.
Each effect's written breakdown, its measurement card and every single-control chart are on the
detail page (large).