EVENTIDE REVERB2016 Details
Eventide's Reverb 2016 recreates the legendary reverb algorithms of Eventide’s SP2016 – Stereo Room, Room Reverb and High Density Plate. Every aspect of the original effects has been duplicated including every detail of the user parameters.
While the algorithms are identical to the originals, the hardware implementation is state-of-the-art, with features that include a high performance 24 bit DSP, 24 bit analog audio I/O, digital I/O and MIDI interface.
The Reverb 2016 is built to reverb – it’s not a multi-effects box. It was designed from the perspective that reverb is used nearly always and warrants a dedicated box with an optimal user interface. The Reverb 2016 user interface is extremely easy-to-use, unbelievably cool and features dedicated controls for each of the effect’s parameters. The controls and display are intuitive. The panel controls are optimized for the studio and for live performance. Up to 99 user presets can be stored.
While recreating the original reverbs is the Reverb 2016’s raison d’etre, it also features brand new, enhanced versions of the originals. These “New” reverbs are not a breakthrough: they have the same basic structure of the originals but with more complex early reflections, higher density, and finer control of the parameters. The “New” reverbs represent the natural evolution of the development work that maxed out the array processing power of the SP2016.
Reverb 2016 Features
6 Reverb effects and a dedicated user interface
Recreates 3 original SP2016 reverb effects Stereo Room
Room Reverb
High Density Plate
3 new enhanced versions of the originals
Fast top level UI (one knob - one job) optimized for studio and live performance
Stores up to 99 user defined presets.
Digital input/output (S/PDIF)
Input kill switch, relay bypass switch
Dual function footswitch input
>98dB dynamic range
24 bit conversion
MIDI in & out
20 Hz - 20 kHz +/-1dB
Pro levels (+4 dB nominal) and connections (XLR and 1/4”)
Balanced/unbalanced input selection via rear panel, push button switch
Universal internal power supply works anywhere
The Reverb2016 Algorithms
Creating a reverb algorithm is part art and part science.
The science bit is all about the naturalness of the sound - whether the simulation convincingly conveys the 'feel' of a real room. Some digital reverbs don't have the horsepower to run a sufficiently complex program to achieve 'naturalness.' Without enough processing power the effect will suffer from low echo density or unnatural density growth with time or comb filter effects, etc. As Einstein is alleged to have said "things should be as simple as possible, but no simpler." This principle certainly applies to reverb algorithms.
The art of reverb algorithm design begins with simulating a 'room' that actually sounds good. Needless to say, rooms exist in the real world that sound awful. The structure of the reverb algorithm combined with the choices of delay lengths, interconnects, filter placement, early reflections, etc. all contribute to the overall sound. The final element of the art of reverb design is the designer's choice of the ways in which, and the extent to which, the artist/engineer/producer is permitted to modify the effect. What are the parameters and what do they do?
The degrees of freedom available to the designer guaranty that no two (sufficiently complex) reverb algorithms will sound the same. Each will be unique. There are a number of popular digital reverberators for good reason. Each has a distinctive sound, each has a particular set of possibilities. The SP2016 reverbs have attracted a loyal user base because of a particular blend of art and science. They sound natural. They sound distinctive. And, although they allow the user to vary the effect dramatically, the controls can't be set in such a way as to create an unnatural sounding effect - this is a good thing.
The Reverb2016 algorithms naturally simulate every aspect of the sound of a real enclosure - from the complex early reflections, to the natural way in which the echo density increases with time, to the smooth Gaussian decay of the reverb tail. A powerful simulation that lends itself to parametric control - a good thing indeed.
EVENTIDE REVERB2016 Specs
Audio Input Connectors
1/4” T/R/S phone jacks (2)
XLR 3-wire balanced (2)
Impedance
+4dB/Bal switch position: 100kOhm
-10dB/Unbal switch position: 50K Ohms
Levels
+4dB/Bal switch position:
-2dBu min for full scale
+20dBu max
-10dB/Unbal switch position:
-14dBu min for full scale
+8dBu max
Audio Output Connectors
1/4” T/R/S phone jacks (2)
XLR 3-wire balanced (2)
Impedance
125 Ohms, each side, balanced
Levels
+18dBm max, full scale, balanced/unbalanced
Digital Input/Output Digital Input
Digital S/PDIF Input
Sample Rate: 44.1kHz – 48kHz (downsampled to 40kHz)
Connector: Coaxial, RCA type
Digital Input is selected via front panel switch.
Digital Output
Digital S/PDIF output
Sample Rate: 44.1kHz or 48kHz with ext clock
Connector: Coaxial, RCA type
Digital output is always active at 44.1 kHz when not using digital input
Frequency Response Dry 20Hz-20kHz, +/-1dB
Wet 20Hz-16kHz, +-1dB
Dynamic Range >90dB
20 Hz - 20 kHz, Non A-weighted
Sample Rate 40.0 kHz
Conversion 24 Bits A/D, 24 Bits D/A
Environment Operating temperature: 32° to 104°F (0° to 40C)
Storage: –20° to 170°F (–30 to 75°C)
Relative humidity: 95% non-condensing
Throughput delay Less than 2 ms
THD <= .05% , 20Hz - 20kHz
Crosstalk <= 45dB below full scale
Dimensions Width 19”
Depth 6”
Height 1.75”
Weight 9.5 lbs
EVENTIDE REVERB2016 FAQ
Signal Input/Output
How can I control input routing?
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.
What does the “MONO” LED indicate?
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).
What does “Kill” do?
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.
Why is the input signal clipped?
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.
Input levels are less than 0dB yet both Clip LEDs are lit. What’s going on?
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.
Why is the “Dig In” LED flashing?
You’ve selected the digital input mode without connecting a digital input signal. The LED is lit solidly when the Reverb 2016 locks on to a valid S/PDIF input clock signal.
Are the SPDIF outputs always enabled?
Yes.
The Algorithms
What are the algorithms?
Three of the six “Stereo” “Room” and “Plate” are reverse-engineered copies of the three most popular algorithms shipped with the original Eventide SP2016 back in the early 80’s. The other three are enhanced versions of the three originals.
How close to the originals are the "originals"?
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.
What’s a “Stereo” algorithm?
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.
In what way are the new algorithms ‘enhanced’?
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.
The Parameters
What does “Position” do?
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”).
What does “Diffusion” do?
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.
Some of the Parameter LED indicator[1]s go dark sometimes. Why?
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.
What’s causing the horrendous, clipped, low frequency rumble?
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.
How many presets does the 2016 have? Can I add my own?
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.
How do I restore the factory presets if they have been overwritten or modified?
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.
Eventide Reverb 2016
Rear
AUDIO TECHNICA ATHM40FS HEADPHONES
