Reverb actually represents a large number of discrete echoes. They are caused by sound bouncing off of every conceivable solid surface and then mushing together as the thousands of echo’s return to the listener. A reverb processor is a device that uses an algorithm to turn a source sound into the reverberant version of that sound. Moreover, that algorithm can be configured in a large number of ways. However, the designers generally like to set up some basic configurations that imitate typical reverbs that we frequently come across. Customarily, the reverb types are Rooms, Halls, Chambers, Plates, and Ambiences.
Hall Reverb explained
The hall reverb is certainly one of the most used types of reverb in modern music and sound production. As its name suggests, it emulates the reverberation effect of large hall spaces like church, theatre, and other large venues. The distinctive design of these spaces produces the best listening experience. They have minimal echoes, room modes, etc. and the intention is to sound as tonally even as possible. In certain cases, some venues are designed to amplify the low frequencies in order for the large orchestras to sound even more exciting. Concert halls usually have bow-shaped architecture. It helps in generating their distinctive sound.
Modeling large spaces
Hall reverbs are often favored for their ability to model large physical spaces. However, they can easily do more damage than help if one uses them unreasonably. If you apply too much of hall reverb in a mix the long reverberations can make your mix sound too distant, or just plain muddy. Many modern reverb units have a large number of parameters and they often produce a sound that is far away from any real-life physical space.
Real hall spaces always have a long reverberation time. With digital processors, you can have depth and spaciousness of a large hall. At the same time, the ability to shorten far too long reverberation tail that can create a undesired muddied mix. Consequently, most of the modern digital reverb units have many modulation parameters. They are capable to control anything from the shape, size to distance and character. Setting these modulation parameters in a right way can really add richness and organic quality that works well with the music.
Big, rich and warm sound are recognizable characteristics of Hall reverbs. Furthermore, they are often the best choice for adding some three-dimensional ambiance to your mix. Because they sound big, producers often use them to fill out the back end of the mix. In addition, they are adding some depth without overpowering the front of the mix.
Additional Resources & Source Texts