| Parameter	| Description
Decay	This governs the length of the reverb or the feedback if an echo algorithm is selected.
HF Damp	Controls how quickly the high frequencies should decay in the reverb. Raise it to gradually remove high frequencies, making the reverb sound warmer and less bright.
HI EQ	This is a high-shelving EQ that works much like a typical treble control on a mixer or amplifier. Lower the setting for a softer reverb sound or raise it to get more high frequencies.

| Algorithm	| Description
Small Space	Emulates a small enclosed space (a small room or a resonant body).
Room	Emulates a room with adjustable shape and wall character.
Hall	Emulates a hall.
Arena	Emulates a large arena, with separate pre-delay for the left, right and center reverbs.
Plate	Emulates a classic plate reverb.
Spring	Emulates a spring reverb, as used in e.g. guitar amplifiers.
Echo	An echo effect with gradually diffusing echo repeats. Can be synced to Reason’s tempo.
Multi Tap	A multi-tap delay with four different delay lines and tempo sync.
Reverse	A reverse reverb that “pushes” the dry sound to appear after the reverb. The result is a backwards reverb leading up to the direct sound.
Convolution	The zero-latency Convolution algorithm uses impulse response samples. The samples are used for generating the desired reverb effect (or actually any type of effect - depending on what sample you use).

| Parameter	| Description
Size	The size of the emulated space.
Mod Rate	The reverb can be randomly modulated for a more even sound (or for special effects). This parameter sets the rate of modulation (the amount is set with Mod Amount).
Room Shape	Select from four different room shapes, affecting the character of the reverb.
LF Damp	Controls how quickly the low frequencies should decay in the reverb. Raise it to gradually remove low frequencies, making the reverb sound “thinner” and less boomy.
Wall Irreg	Adjusts the positioning of the emulated walls in the small space. The lowest setting emulates two directly opposed walls while higher settings emulate more walls and angles, for a more complex resonance.
Predelay	Sets the predelay time, i.e. the delay between the source signal and the start of the reverb.
Mod Amount	Sets how much the reverb will be modulated. Use fairly low settings when emulating real rooms and resonant bodies, and higher settings for special effects.

| Parameter	| Description
Size	The size of the emulated room.
Diffusion	At low Diffusion settings, you will hear the individual reverb “bounces” more clearly, while higher settings produce a more “smeared”, dense and even reverb.
Room Shape	Select from four different room shapes, affecting the character of the reverb.
ER->Late	The first “answers” in the reverb are called early reflections (ER) and are typically more pronounced than the actual reverb tail. This parameter sets the time between the early reflections and the reverb tail. This is set as a percentage - the actual delay time depends on the Size setting.
ER Level	Adjusts the level of the early reflections. “0” is normal level.
Predelay	Sets the predelay time, i.e. the delay between the source signal and the start of the early reflections and reverb.
Mod Amount	Sets how much the reverb will be modulated. Moderate modulation gives a natural, less static sound.

| Parameter	| Description
Size	The size of the emulated arena or hall.
Diffusion	At low Diffusion settings, you will hear the individual reverb “bounces” more clearly, while higher settings produce a more “smeared”, dense and even reverb.
Left Delay	The predelay time for the left side of the reverb.
Right Delay	The predelay time for the right side of the reverb.
Stereo Level	Adjusts the level of the left and right sides of the reverb. “0” is normal level.
Mono Delay	The predelay time for the mono (center) reverb signal.
Mono Level	Adjusts the level of the mono (center) reverb signal. “0” is normal level.

| Parameter	| Description
LF Damp	Controls how quickly the low frequencies should decay in the reverb. Raise it to gradually remove low frequencies, making the reverb sound “thinner” and less boomy.
Predelay	Sets the predelay time, i.e. the delay between the source signal and the start of the reverb.

| Parameter	| Description
Length	Sets the length of the simulated spring.
Diffusion	At low Diffusion settings, you will hear the individual reverb “bounces” more clearly, while higher settings produce a more “smeared”, dense and even reverb.
Disp Freq	When sending a signal to a real-life spring reverb, the initial transient will produce a quick, characteristic sweeping tonal noise. This is because different frequencies in the sound are delayed by different amounts (a phenomenon called dispersion). This parameter controls the frequency of that sound.
LF Damp	Controls how quickly the low frequencies should decay in the reverb. Raise it to gradually remove low frequencies, making the reverb sound “thinner” and less boomy.
Stereo (on/off)	Determines whether the output of the spring reverb should be in mono or stereo.
Predelay	Sets the predelay time, i.e. the delay between the source signal and the start of the early reflections and reverb.
Disp Amount	Sets the amount of dispersion effect (see Disp Freq above).

| Parameter	| Description
Echo Time	Sets the time between each echo. When Tempo Sync (see below) is off, the echo time is set in milliseconds (10 - 2000 ms); when Tempo Sync is on you set the echo time as a number of 1/16 notes or 1/8 triplet notes, in relation to the current song tempo.
Diffusion	When this is set to 0, the echo will sound as a standard delay with clear, precise repeats. Raising the Diffusion setting will introduce additional echoes very close to the “main” echo repeats, causing a “smeared” echo sound. This will also expand the echo stereo image.
Tempo Sync	Determines whether the echo time should be freely set (“off”) or synchronized to Reason’s tempo (“on”).
LF Damp	Controls how quickly the low frequencies should decay in the echoes. Raise it to gradually remove low frequencies.
Spread	Adjusts the spacing of the additional echoes added by the Diffusion parameter. For a very smeared echo (sound more like a reverb), set both Diffusion and Spread to their maximum values.
Predelay	Sets an additional delay time before the first echo repeat.

| Parameter	| Description
Tempo Sync	Determines whether the delay times and repeat times should be freely set (“off”) or synchronized to Reason’s tempo (“on”).
Diffusion	Raising the Diffusion setting will introduce additional echoes very close to the “main” repeats, causing a “smeared” delay sound.
LF Damp	Controls how quickly the low frequencies should decay in the echoes. Raise it to gradually remove low frequencies.

| Parameter	| Description
Tap delay	Sets the delay - the time from the source signal to the tap. When Tempo Sync is off, the delay time is set in milliseconds (10 - 2000 ms); when Tempo Sync is on you set the delay as a number of 1/16 notes or 1/8 triplet notes, in relation to the current song tempo.
Tap level	Adjusts the level of the selected tap.
Tap pan	Adjusts the pan of the selected tap.

| Parameter	| Description
Repeat Time	Sets the time between each repeat of the whole multi tap set. The number of repeats is set with the Decay control on the main panel. When Tempo Sync is off, the repeat time is set in milliseconds (10 - 2000 ms); when Tempo Sync is on you set the repeat time as a number of 1/16 notes or 1/8 triplet notes, in relation to the current song tempo.

| Parameter	| Description
Length	This sets the time from when the source signal is fed into the reverb until it is played back again. It is during this time you will hear the reverse reverb, as shown in the display. The time can be set in milliseconds or as note values, depending on whether Tempo Sync is off or on. Note: As stated above, the Decay setting determines the length of the actual reverse reverb - in essence how soon it starts after the source signal. But of course, the reverse reverb cannot start before the original source signal! If you set Decay to a longer time than the Length setting, the reverse reverb will start abruptly, immediately when the source signal is fed into the reverb. If this sounds complicated, just take a look at the RV7000 Mk II display and try the settings - you will soon see how it works. Note also that very high Length settings demand a lot of processor power. This can be reduced by adjusting the Density parameter, see below.
Density	Density governs the “thickness” of the Reverse effect. If this parameter is turned down to zero, the effect produces individual delays rather than a dense “wash”, which can be used as a special effect. Worth noting is that if Density is set to around 50%, this can considerably reduce the CPU load without altering the sound of the effect too much. Exactly how much the Density parameter can be reduced without altering the sound depends on the source material.
Rev Dry/Wet	Sets the balance between the “moved” source signal (“dry”, low values) and the reverse reverb (“wet”, high values).
Tempo Sync	Determines whether the Length setting should be freely set (“off”) or synchronized to Reason’s tempo (“on”).

| Parameter	| Description
Sample Preset	Here you select one of the preset impulse response samples - plus your own sample (if you use that, see “Loading impulse response samples”).
Length	Sets the length (end point) of the currently used impulse response sample.
Size	Simulates the “size” of the impulse response sample, in practice its pitch, in semitone steps. -12 means pitching up the impulse response sample 1 octave and 12 means pitching it down 1 octave.
LF Damp	Controls how quickly the low frequencies should decay. Raise it to gradually remove low frequencies, making the effect sound “thinner” and less boomy.
Stereo Mode	Determines how the output signal should be presented. Note that the stereo effect is derived from the impulse response sample itself. So, the wider the stereo effect in the impulse response sample, the wider the stereo effect in the output. Note that if you use a mono impulse response sample, all effects below will be in mono! Stereo: The input signals are summed and then a stereo effect with a spread of 100% is applied. Stereo75%: The input signals are summed and then a stereo effect with a spread of 75% is applied. Stereo50%: The input signals are summed and then a stereo effect with a spread of 50% is applied. Stereo25%: The input signals are summed and then a stereo effect with a spread of 25% is applied. Mono: The input signals are summed and then the effect is panned to a centered mono signal (0% spread). M->S Slow: From Mono slowly panned out to full Stereo. M->S Fast: From Mono quickly panned out to full Stereo. S->M Slow: From full Stereo slowly narrowed down to Mono. S->M Fast: From full Stereo quickly narrowed down to Mono. Parallel: Individual processing of the two L and R stereo input signals (dual mono).
Predelay	Sets the predelay time, i.e. the delay between the source signal and the start of the convolution effect. A negative predelay masks the start of the sample, so if the sample has unwanted initial transients or silence, these can be “removed”.
Gain	Sets the amplification or attenuation of the effect signal.

| Parameter	| Description
Low Gain	The amount of cut or boost of the low-shelving filter.
Low Freq	The frequency below which the Low Gain cut or boost is applied.
Param Gain	The amount of cut or boost for the parametric EQ.
Param Freq	The center frequency of the parametric EQ, e.g. at which frequency the level should be decreased or increased.
Param Q	This governs the width of the affected area around the set center frequency. The higher the value, the narrower the affected frequency range.

| Parameter	| Description
Threshold	When Trig Source is set to “Audio”, this determines the audio signal level at which the gate opens. If you raise this setting, only very loud sounds will open the gate.
Decay Mod	This modulates the reverb Decay parameter so that the decay time is lowered when the gate closes. When this is set to zero, no decay modulation happens - this means that if the gate is closed and then opened again, you may hear “previous” reverb tails that are still ringing. If you raise the Decay Mod setting, the decay will automatically be lowered when the gate is closed, eliminating this effect.
Trig Source	Determines whether the gate should be triggered by audio or MIDI/CV, as described above.
High Pass	A high-pass filter that affects the audio that triggers the gate (only active when Trig Source is set to “Audio”). If you raise this setting, sounds with low frequencies only will not open the gate. Note that this setting doesn’t affect the sound of the reverb, only the triggering mechanism.
Attack	Determines how long it takes for the gate to open after a triggering signal has been received.
Hold	This parameter is only active when Trig Source is set to “Audio”. Hold affects how quickly the gate closes, in the following way: Internally, the gate is controlled by an envelope follower that analyzes the source signal level and generates a “level CV signal” accordingly. This signal is compared to the Threshold level to determine whether the gate should be opened or closed. The Hold parameter affects how quickly the envelope follower responds when the source signal level drops - you could say that this is the decay control for the envelope follower. The higher the Hold setting, the longer it will take for the envelope follower signal to drop below the threshold level and close the gate. But the resulting time also depends on the source signal level - with a loud signal, it will take longer time for the envelope follower to drop to the threshold level. Therefore, the actual gate time depends both on the Hold setting and on the character of the source audio.
Release	Determines how long it takes for the gate to close after the Hold time.

| Parameter	| Description
Decay	Controls the reverb decay or echo/delay feedback via CV.
HF Damp	Controls the HF Damp parameter on the main panel.
Gate Trig	Used for triggering the Gate section with a gate signal. The length of the gate signal determines the length of the gated reverb.