Containing the entire Reverb and Delay palette of TC Electronic, Reverb 6000 is a four engine monster for professional film and music production. It delivers the finest, wildest and most research-intensive spatial effects of the audio industry today. Reverb 6000 contains the entire family of award winning VSS reverbs for mono, stereo, LtRt, 5.1 and 6.1 formats, the best algorithms and presets from M3000 and M5000 plus unique Reverb 6000 preset banks such as Halls of Fame and the Skywalker Sound Collection. Presets can be further adjusted with numerous parameters to make them just the right fit for any sound image you may be working on.

As a part of a continuous and free upgrade path, new effect reverbs have recently been added, as well as wild delay and boundary effects for any format up to 6.1. Reverb 6000 even runs 16 independent mono Reverbs in real-time – your insurance of complete flexibility.

Reverb 6000 can be controlled from a TC Icon Remote, a Mac or PC. Network it, share it, automate it against time code, or use the automation built into a workstation.

Generic reverb is primarily a flattering sustain effect which can be added to many sources of a mix, or a complete stereo or multi-channel stem. It adds little character but also does no harm, because the effect is blurred or washed out.

If early reflections are offered, there are only few of them and they play a rudimentary role. Therefore, a strong localization is not imposed on the signal, which is what you want when one reverb is used on many sources. For a graphical artist, the equivalent tool to Generic reverb would be a paintbrush.

When elements of a mix are picked up individually, a chance exists to define exactly how each of them is to be heard. There is no reason to apply one Generic reverb to several single sources, unless they are supposed to present an identical position to the final listener, or if you have run out of aux sends.

When it is desirable to distinguish between single elements sharing more or less the same panning position, source based reverb should be a first choice. Subtle discrimination between reflection patterns of individual sources can make all the difference in the world when it comes to obtaining depth, expression and natural imaging.

Source Reverbs are able to generate multiple, complex early reflection patterns. If a microphone already has picked up some reflections, the reflections should be excluded from the simulated pattern by using the appropriate reflection decrease control in order to get the best result. Instruments or sources can alternatively share the same reverb input in groups, e.g. stage left, center and right, for a more complex and desirable result than a Generic, one-send reverb approach. For a graphical artist, the equivalent tool to Source reverb would be a 3D rendering system or Virtual Studio.

Sampling reverbs present a variation of the Source theme: An impulse response is taken from an actual room based on a specific source and pick-up position. This "canned room" with frozen source, pick-up and speaker positioning, can later be applied to any signal.

From experiments we have found it difficult to translate a room feeling to speakers, due to compromises by nature built into the emission and pick-up process when capturing a room response. This is especially true with multichannel formats such as 5.1 and 6.1, where DSP in simulators can be used to optimize a virtual room for a specific speaker configuration.

Currently, no sampling reverbs are available on Reverb 6000.