Arturia Rev PLATE-140 User manual

USER MANUAL

Special Thanks
DIRECTION
Frederic Brun Kevin MOLCARD
ENGINEERING
Samuel Limier
Kevin Arcas
Simon Conan
Alessandro De Cecco
Raynald Dantigny
Alexandre Adam
Baptiste Aubry
Timothée Behety
Yann Burrer
Corentin Comte
Loris De Marco
Geoffrey Gormond
Pierre-Lin Laneyrie
Mathieu Nocenti
Marie Pauli
MANUAL
Fernando Manuel
Rodrigues (author)
Camille Dalemans
Leo Der Stepanians
Randy Lee
Holger Steinbrink
Minoru Koike
Charlotte Metais
Jose Rendon
SOUND DESIGN
Jean-Michel Blanchet Victor Morello
DESIGN
Martin DUTASTA Clément BASTIAT Shaun ELWOOD Morgan PERRIER
TESTING
Florian Marin
BETA TESTING
Gustavo Bravetti
Andrew Capon
Chuck Capsis
Jeffrey Cecil
Marco Correia (Koshdukai)
Raphael Cuevas
Ben Eggehorn
Tony Flying Squirrel
Mat Herbert
Jay Janssen
Fernando Manuel
Rodrigues
Terry Marsden
Bernd Waldstädt
George Ware
Chuck Zwicky
Randy Lee
© ARTURIA SA – 2019 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin - FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0

Revision date: 17 December 2019

Thank you for purchasing Arturia's Rev Plate-140!
This manual covers the features and operation of the Rev Plate-140.
Be sure to register your software as soon as possible! When you purchased Rev Plate-140
you were sent a serial number and an unlock code by e-mail. These are required during the
online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications or features
without notice or obligation.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's Rev Plate-140
Since the late 1990s, Arturia has received acclaim from players and reviewers alike for
designing state-of-the-art software emulations of the venerable analog synthesizers from
the 1960s to the 1980s. From the Modular V, back in 2004, to Origin, a modular system
that was introduced in 2010, to the Matrix 12 V (2015), the Synclavier V (2016), the Buchla
Easel V and the DX7 V (2018), and most recently the Synthi V, the CZ V, and the Mellotron V.
Last but not least, we also have to mention Pigments, our first original software synthesizer,
featuring multiple synth engines and a creative-inviting GUI.
Arturia's passion for synthesizers and sonic purity has given demanding musicians the best
software instruments for professional audio production.
Arturia also has a growing expertise in the audio field, and in 2017 launched the AudioFuse,
a pro studio quality audio interface that features two proprietary DiscretePRO® microphone
preamplifiers and a set of top-notch AD/DA converters. This line was recently expanded with
the launch of the AudioFuse Studio and the AudioFuse 8Pre. Arturia has also been busy
making effect plug-ins, launching in 2018 the first Arturia effects bundle: 3 PreAmps You'll
Actually Use, which included the 1973-Pre, the TridA-Pre, and the V76-Pre.
Other bundles followed, dedicated to compressors and delays. With the launching of a new
effects bundle, this time dedicated to reverbs, Arturia consolidates its position as a leader in
audio effect plug-ins.

Table Of Contents
1. WELCOME ......................................................................................................................................................................... 2
1.1. What is a reverb?................................................................................................................................................................... 2
1.2. What is a Plate Reverb? ................................................................................................................................................... 3
1.3. Where have plate reverbs been used? .................................................................................................................. 4
2. ACTIVATION AND FIRST START.......................................................................................................................... 5
2.1. Activate the Arturia Rev Plate-140 license ............................................................................................................ 5
2.1.1. The Arturia Software Center (ASC).................................................................................................................................................................... 5
2.2. Working with plug-ins ....................................................................................................................................................... 6
3. REV PLATE-140 OVERVIEW ................................................................................................................................... 7
3.1. Arturia's Rev Plate-140 plug-in...................................................................................................................................... 7
3.2. Understanding Rev Plate-140 Signal Flow .......................................................................................................... 8
3.3. Getting hands-on with Rev Plate-140...................................................................................................................... 9
3.3.1. Reverb Basics ................................................................................................................................................................................................................. 9
3.3.2. Advanced methods of using the plug-in................................................................................................................................................... 10
4. REV PLATE-140 CONTROL PANEL ..................................................................................................................... 11
4.1. Channel Configuration (Mono/Stereo) ................................................................................................................... 11
4.2. Main Control Panel ............................................................................................................................................................ 12
4.2.1. Power (Switch)............................................................................................................................................................................................................. 12
4.2.2. Drive................................................................................................................................................................................................................................... 13
4.2.3. Model................................................................................................................................................................................................................................. 14
4.2.4. Decay ................................................................................................................................................................................................................................ 14
4.2.5. Blend.................................................................................................................................................................................................................................. 15
4.2.6. Width (Stereo Width).............................................................................................................................................................................................. 16
4.3. Advanced Mode Control Panel .................................................................................................................................. 16
4.3.1. Pre-Delay ......................................................................................................................................................................................................................... 16
4.3.2. HP Filter ........................................................................................................................................................................................................................... 16
4.3.3. Modulation ...................................................................................................................................................................................................................... 17
4.3.4. Post Equalizer ............................................................................................................................................................................................................... 17
5. USER INTERFACE ........................................................................................................................................................ 18
5.1. The Upper Toolbar............................................................................................................................................................... 18
5.1.1. Save Preset...................................................................................................................................................................................................................... 18
5.1.2. Save Preset As…........................................................................................................................................................................................................... 19
5.1.3. Import................................................................................................................................................................................................................................ 19
5.1.4. Export Menu ................................................................................................................................................................................................................... 19
5.1.5. Resize Window options.......................................................................................................................................................................................... 19
5.1.6. Help.................................................................................................................................................................................................................................... 20
5.1.7. Preset Selection ......................................................................................................................................................................................................... 20
5.2. Advanced Mode (Double Arrow) Button............................................................................................................ 20
5.3. The Lower Toolbar ............................................................................................................................................................. 21
5.3.1. Panic................................................................................................................................................................................................................................... 21
5.3.2. Undo .................................................................................................................................................................................................................................. 21
5.3.3. History .............................................................................................................................................................................................................................. 21
5.3.4. Redo................................................................................................................................................................................................................................... 21
5.3.5. Bypass............................................................................................................................................................................................................................. 22
5.3.6. CPU meter..................................................................................................................................................................................................................... 22
5.4. The Preset browser.......................................................................................................................................................... 22
5.5. Fine-tuning parameters................................................................................................................................................. 23
5.6. Resetting your controls.................................................................................................................................................. 23
6. Software License Agreement............................................................................................................................ 24

1. WELCOME
1.1. What is a reverb?
We all know the phenomenon that is reverberation and have experienced it, even if not
consciously. Reverberation is the sum of all sound reflections that happen in a room or
space when a sound is produced. That's what gives us the perception of the space, and also
"imprints" the sound signature of that space in the perceived sound.
That's an inescapable phenomena, and we will experience it even if we don't want to.
Although most of the time it is a good thing to have, and contributes to giving life and
dimension to the sound, that's not the case when we want to record something.
Usually, studios have controlled acoustics in their recording rooms, still allowing some
reflections but not enough to have a significant influence on the audio and its original
spectrum. Great efforts are taken to treat the room acoustics to ensure this.
Some ambience is usually added afterward, though. That's where artificial reverb units
come in handy. Today, we have lots of devices with sophisticated techniques and algorithms
to reproduce the acoustics of any room and space we want. However, it wasn't always like
that. In the past, engineers had to turn to the mechanical properties of springs and large
steel plates to create some artificial ambience for the sound. That "ambience" didn't aim
to reproduce any kind of natural room or space sound signature; it was there just to add
liveliness and dimension to the sound.
So instead of reproducing any kind of natural acoustic reverberation, they created their own
"sound signature reverberation." These sounded great to the ears of musicians and listeners,
so much so that even today, when the accurate emulation of acoustic spaces is possible, we
still want those artificial sound signatures in some cases.
Rev Plate-140 Main Reverb Controls
Arturia - User Manual Reverb Plate - WELCOME 2

1.2. What is a Plate Reverb?
Historically, there have been two kinds of mechanical reverberation units: Plate and Spring
Reverbs.
Plate reverbs are among the most used reverb types in the music industry. The German
company EMT was the first (and still the most important) plate reverb manufacturer. The
EMT 140 Reverberation Unit was their first product. It sounded smoother and more natural
than the spring reverb, and at the same time didn't demand a dedicated space, like the echo
chamber.
As is implied by the name, plates are metal sheets (usually of relatively large dimensions)
that are hanging in cases, suspended in a way that allows the plate to vibrate well.
The plate is excited by a signal it gets from a transducer, and then vibrates according to
that signal. The vibrations are captured elsewhere in the plate by two contact microphones,
creating a stereo reverberation effect.
The reverberation we get from a plate is not the same as what an acoustic environment
provides, although it sounds closer to natural reverberation than a spring reverb. But it does
add density and ambience to the sound; and that, along with the impracticality of having
a physical "echo chamber", made plate reverbs the kings of the studio until the advent of
digital reverbs.
There are some other interesting qualities to plate reverbs though. Overall, we can classify
the plate reverb sound as "dense" and "shiny".
3 Arturia - User Manual Reverb Plate - WELCOME

1.3. Where have plate reverbs been used?
Plate reverbs provided a simpler method for creating reverberation effects. After their
appearance, plates reigned in the studios through the end of the seventies. Even after digital
reverbs started to replace these units as the favorite reverb devices, they included among
their algorithms a plate simulation. This says enough about how the sound of these reverbs
imposed itself.
Still, the reverberation we get from a plate is not exactly "natural". The metal sheet is
suspended, and flexural vibrations are induced on the plate by the transducer. The
dispersive propagation of these vibrations creates a dense reverberation effect with a kind
of "shiny" metallic quality.
There are some other interesting qualities to plate reverbs. Due to the rectangular shape of
the plate, and since the vibration waves propagate in a circular manner, they don't reach
the edges of the plate at the same time. But when they do that, they are bounced (reflected)
back. As the reverb tails fade out, the echo density increases. This stage is reached very
quickly, and then there will only be a very dense sound.
Although plate and spring reverbs are now considered "old technology", they are still in use
today. Plate reverbs are fairly easy to use, and have a characteristic and very personalized
sound that grants them their own place among the studio tools.
Plate reverbs are still very popular in pop music, especially to add density to vocals, without
getting attached to any kind of space in particular. Drums, especially powerful rock drums,
may greatly benefit from a good plate reverb.
Synth parts, as well as guitar parts, may also benefit greatly from the added density of plate
reverbs. Bear in mind, though, that many synth sounds already have reverb added to the
sound.
Finally, plate reverbs could be great in combination with an algorithmic reverb, contributing
additional density to the sound.
Rev Plate-140 showing all the controls available
Arturia - User Manual Reverb Plate - WELCOME 4

2. ACTIVATION AND FIRST START
The Arturia Rev Plate-140 plug-in works on computers equipped with:
Windows 7 or later and macOS 10.10 or later.
You can use the Rev Plate-140 plug-in as an Audio Unit, AAX, VST2 or VST3 plug-in (64-bit
only).
2.1. Activate the Arturia Rev Plate-140 license
Once the software has been installed, the next step should be to activate your license, so
that you can use it without limitations.
This is a simple process that involves a different software program: the Arturia Software
Center.
2.1.1. The Arturia Software Center (ASC)
If you have not already installed the ASC, go to this web page:
https://www.arturia.com/support/downloads&manuals
Look for the Arturia Software Center at the top of the page, and then download the version
of the installer that you need for your system (macOS or Windows).
Follow the installation instructions and then:
• Launch the Arturia Software Center (ASC)
• Log into your Arturia account
• Scroll down to the My Products section of the ASC
• Click the Activate button
That's all there is to it!
5 Arturia - User Manual Reverb Plate - ACTIVATION AND FIRST START

2.2. Working with plug-ins
Rev Plate-140 is ready to be used in all major digital audio workstations (DAWs), including
Live, Logic, Cubase, Pro Tools and others. Unlike what happens with hardware, you can load
as many instances of Rev Plate-140 as you find useful. Rev Plate-140 has two other big
advantages over hardware:
• You can automate numerous parameters using your DAW’s automation system;
• Your settings and current plug-in state will become recorded in your project, and
you can pick up exactly where you left off the next time you open it.
The Main Rev Plate-140 controls
Arturia - User Manual Reverb Plate - ACTIVATION AND FIRST START 6

3. REV PLATE-140 OVERVIEW
3.1. Arturia's Rev Plate-140 plug-in
The Rev Plate-140 wasn't meant to be an exact replica of a specific plate reverb. Although
this plug-in is inspired by a classic and very famous plate reverb, it may be considered our
own personal take of that classic (with some added features, of course).
Nevertheless, we strove to keep the simplicity of the original plate reverbs. Our aim is always
to keep things as simple as possible, allowing the user to have fun using the tools we
provide.
As usual with the effect plug-ins produced by Arturia, the Graphical User Interface (GUI) has
two panels, the Main Panel and the Advanced Panel.
The Main Panel has the controls for the "traditional" plate reverb action, as well as a couple
of extras, and also allows you to choose between different plate models.
But we also included several more substantial features. These appear in a separate
"Advanced" panel that opens below the main panel. Here you will find things like a Pre-Delay,
an HP Filter, a Modulation section, and a Post Equalizer (with High and Low Shelf bands).
None of these features were available on the original hardware but we have included them
here as we feel they are very useful for modern music makers.
We will take a detailed look at all of these things in the Control Panel chapter [p.11]. Now, it's
time to check how it sounds. Let's go!
Arturia Rev Plate-140 Main and Advanced control panels
7 Arturia - User Manual Reverb Plate - REV PLATE-140 OVERVIEW

3.2. Understanding Rev Plate-140 Signal Flow
The Rev Plate-140 has some extra features, not usually found in a plate reverb, that can
enrich the processor and give the user an extra dose of versatility. The signal flow reflects
that:
As the signal enters the plug-in, it is sent through the tube preamp saturation circuit, and
then split into two audio signals:
1. The "dry" path, which is sent without any further processing to a mixer just before
the reverb output;
2. The "reverberated" signal path.
The reverberated signal is then sent through the Pre Delay and the HP Filter. These are two
of the extra modules that can be found in the Advanced Control Panel.
The signal can then be sent through the Modulation (chorus) module, if it is set to Pre. This
routing will only occur if Modulation is On.
After this stage, the signal is finally routed through the Plate Reverb Engine. This is the "heart"
of the processor, and there the audio will be processed by the selected plate model, while
the reverb tail duration will be controlled by the Decay Time.
Next, if the Modulation module is On and set to Post, the audio signal will be sent through
this module, where chorus will be applied. Again, this routing will only occur if Modulation is
On.
Next stage for the reverb signal is the EQ module, where some EQ can be applied.
If the reverb signal is in stereo, it will then be routed through the Width control, which acts
like a "monoizer" for the reverb. This stage only applies to stereo tracks.
Last stage is the mixing of the "reverberated" signal with the "dry" signal, which will be
controlled by the Blend knob.
This is the complete signal flow of the Rev Plate-140. It may seem a bit overwhelming,
but spend some time with it and we're sure you'll gain a deeper understanding of how the
processor works.
Arturia - User Manual Reverb Plate - REV PLATE-140 OVERVIEW 8

3.3. Getting hands-on with Rev Plate-140
3.3.1. Reverb Basics
To get an idea of Rev Plate-140's capabilities, we suggest you try the following:
• Load a stereo clip into an audio track in your DAW (drum or vocal tracks are
ideal for this; the drier, the better);
• Load an instance of Rev Plate-140 as an insert in that track. Open the Rev
Plate-140 window;
• Ensure the Default preset is loaded. This will mean that all settings are positioned
in their initial values;
• Begin playback. The clip will already have some reverb added. You can change
the amount of reverb added to the sound by simply turning the Blend knob left or
right. This is a Dry/Wet control. By default this control is positioned at the center
(0.500), which means it will mix 50% reverberated signal with 50% dry signal.
Turning the knob fully to the right will get you 100% Wet sound, while 100% to
the Left will get you 100% Dry sound;
• Now let's try some heavier processing, just to check the main features of the Rev
Plate-140. First of all, raise the Drive control knob. You'll notice some saturation
being added to the sound. This saturation is emulated after classic tube preamps.
As the saturation gain is automatically compensated, you will not perceive a level
increase;
• While the audio plays, try changing the plate model. There are three models
available, each with its own character. The original modeled reverb is the default
selection (Classic EMT);
• You also have a control for Decay Time. The longer the decay, the longer the
reverb tail will last. Default values vary according to the chosen model, but you
can change them to better suit your taste. Try shortening or extending the decay
time by pressing the "-" and "+" buttons below the display. You'll notice that the
reverb tail becomes shorter or longer.
• Width is a control that's only present when the plug-in is instantiated in Stereo
tracks (or Mono-to-Stereo, as in Pro Tools). It only affects the reverb signal; it
doesn't touch the Dry signal. By default it is at the maximum value too, which
means it preserves the stereo image of the original sound. Try rotating this
control to the left, and observe its effect on the stereo image. You will notice that
the image "shrinks" until it becomes almost mono. As this only affects the reverb
signal, it will be more noticeable if you have the Mix control at 100% Wet. This
way, you can have a stereo signal with a "monoized" reverb tail. This is best
tested with headphones.
9 Arturia - User Manual Reverb Plate - REV PLATE-140 OVERVIEW

3.3.2. Advanced methods of using the plug-in
Now that you have a feeling for the Rev Plate-140 basics, let's go a little deeper:
• Click the double downward facing arrows to open the "Advanced" panel;
• Now, let's try the Pre-Delay control. By default, the control is positioned in the
0.00 ms position (all way to the left). This control delays the wet signal, allowing
you to change the perception of distance (closeness) to the source. Raising it a
little will add depth, dimension and lushness to the reverb;
• The next section is the HP Filter. As the name implies, this will cut low frequencies
from the signal before it reaches the reverb section. Low frequencies, with reverb
added, tend to mask the resulting signal too much. They also don't benefit very
much from reverb. So it's a good idea to cut some of these, and that's where the
HP Filter comes in handy;
• After the HP Filter comes the Modulation section. This is a subtle chorus unit that
contributes some extra depth to the reverb sound. Again, it is good to try it to
hear the results. Guitars or synth pads are great candidates to use this chorus
effect. You can choose to add chorus before or after the signal enters the reverb
chain, by changing the position of the Pre/Post control;
• When you are done, try the Post Equalizer. This is a two-band EQ, with two
shelf bands. Shelf bands boost or cut frequencies after the EQ point (below it for
the Low Shelf, above it for the High Shelf). The boost/cut amount is controlled
by the Gain control, while the Freq control adjusts the EQ point. The roll-off is
very gentle. The two shelves cover the entire spectrum, crossing each other in
the mid frequencies, which allows some extra flexibility (the Low Shelf goes
from 20 Hz to 2 kHz, while the High Shelf starts at 200 Hz and goes up to
20 kHz). Thanks to this versatility, the EQ gives you some extra audio sculpting
capabilities. Try some extreme settings, also with the two bands crossed, to
explore the possibilities.
Rev Plate-140 used in a drum track
Arturia - User Manual Reverb Plate - REV PLATE-140 OVERVIEW 10

4. REV PLATE-140 CONTROL PANEL
The Rev Plate-140 plug-in can be used in Mono or Stereo channels.
The Mono configuration is automatically loaded when we use the plug-in with mono tracks.
When inserted in stereo tracks, the Stereo configuration is automatically loaded as well. The
Stereo configuration will also be loaded when the plug-in is instantiated as Mono-to-Stereo,
as in Pro Tools.
♪: Not all DAWs are able to work with mono tracks, in which case you will not be able to use the
mono configuration.
4.1. Channel Configuration (Mono/Stereo)
The difference between the two configurations consists in the presence of a Width control
in the Stereo version, which is absent in the Mono version.
Width controls the wideness of the stereo field. When inserted in mono channels, the plug-in
doesn't feature this parameter, since we will not have any kind of stereo image to start with.
Rev Plate-140 inserted in a mono track. Notice the absence of the Width control (which
would appear above the Blend control)
11 Arturia - User Manual Reverb Plate - REV PLATE-140 CONTROL PANEL

4.2. Main Control Panel
The Rev Plate-140 Graphical User Interface offers very few controls, since plate reverbs are
very simple units with just a few controls too. The plate reverb controls are located in the
Main Control Panel, which is the one that opens by default when we launch the plug-in.
In addition to these Arturia has included several advanced features, some that were
unimaginable when the hardware versions were originally launched. These new features
are mainly located in a second panel, the Advanced Mode Control Panel, that opens when
we click the double arrow button (the Advanced Mode button) in the Upper Toolbar.
As is the case with the previous effects bundles, as well as with all current Arturia plug-
ins, this GUI also has an Upper Toolbar and a Lower Toolbar. The Lower Toolbar is very
important for the use of the Arturia plug-ins, as it allows the Undo and Redo functions, lists
the editing history, allows you to put the plug-in in Bypass (which doubles the Switch control
in the Main Control Panel), and measures CPU consumption.
Of course, the Upper Toolbar is very important as well, since it is where we access the main
menus, perform important tasks like loading and saving presets and banks of presets, and
where we can select a preset and see the name of the current preset in use. The toolbars
and their features are covered in detail in the User Interface chapter [p.18].
We will now have a look at all the controls available, explaining what they do, what are their
ranges, and how to interpret the numbers.
Notice that each time we click a control (knob or button), or simply hover the mouse over it,
the Lower Toolbar displays the parameter name at the lower left. Also, a small pop-up box
appears at the right side of the control displaying the current parameter value. This changes
every time we move that control, updating the parameter value in real time. These values
aren't always of the same type.
Now, let’s take a look at each control in Main Control Panel.
4.2.1. Power (Switch)
This switch, when turned Off, puts the plug-in in bypass mode. By default it is turned On,
which means the plug-in is active.
Rev Plate-140 Main Control Panel
Arturia - User Manual Reverb Plate - REV PLATE-140 CONTROL PANEL 12

It does exactly the same thing as the Bypass button in the Lower Toolbar. Notice that in
both cases, the GUI changes color when the plug-in is bypassed (becoming darker), and the
word "Bypassed" appears briefly.
4.2.2. Drive
The Drive parameter adds tube-like saturation to the sound. It acts like a preamp on the
input signal, affecting both the dry path and the reverb path.
This control is inspired by the old Telefunken preamps. As the saturation increases the
volume gain is compensated, so that the perceived sound level remains the same.
♪: Drive control acts as a saturation unit. If you don't want to add saturation, you will not need to to
raise the Drive gain. You will still get reverb.
The Power Switch
Rev Plate-140 Drive
13 Arturia - User Manual Reverb Plate - REV PLATE-140 CONTROL PANEL

4.2.3. Model
This control allows you to select one of three plate "models." The first one is Punchy, and
gives you a stronger low-mid response. The second is Classic EMT, which models the
response of the popular EMT 140 reverb when used with the default Post EQ state. The
third one is Modern and, as the name implies, provides a more "modern" response, with a
stronger spectrum presence in the high frequency region.
4.2.4. Decay
This control allows you to select shorter or longer decay times for the reverb tails, this
way controlling the reverb duration. The indicator above has eight positions. The control
varies between "Min" and "Max", with intermediate positions from 1 to 6. Decay times differ
according to the chosen model. Min decay can be as short as 400 milliseconds for the
"modern" plate and 850 milliseconds for the two other models, while the Max decay can go
up to 5 seconds.
By default, the selected position is around 2, but varies according to the chosen model (the
Modern plate model changes the default Decay Time value to around 1.5).
The physical plate reverbs have some control over their reverberation time (RT): The EMT
140 has an additional porous plate close to the main metal plate that reduces the RT as it
moves closer. In fact, moving the porous plate closer dissipates energy from the main plate
through acoustic radiation force (reactive acoustic energy that is not dissipative is absorbed
by the porous plate).
Nevertheless, Arturia included an extra degree of versatility with this control. You should try
it extensively, to find the best decay time for the ambience effect you want to achieve.
Rev Plate-140 Model Selector and Decay
Time controls
Arturia - User Manual Reverb Plate - REV PLATE-140 CONTROL PANEL 14

4.2.5. Blend
A technique often used with reverb is combining the reverberated signal with the dry signal.
The basic concept is having a way to preserve the original audio, while also processing it
through reverb. Usually, this was achieved by using a send from the mixer to an auxiliary
channel and inserting the reverb processor in that channel. The processed sound would then
be routed back to the main mix. So, we had the dry signal in the original mix channel, and
the reverberated signal in the return of the auxiliary channel.
We can achieve this directly with the Blend parameter, an add-on introduced by Arturia.
With it, we don't need to do complex routing in the mix, since we can balance the Dry/Wet
signal directly.
The Blend knob is set by default to the Center (value is 0.500), which means half-Dry/half-
Wet. We can turn it all the way to the left (Dry signal only), all the way to the right (fully
Wet, reverberated signal) or anything in between. Values are displayed in numbers between
0.00 and 1.00, where 0.00 is fully Dry and 1.00 is fully Wet.
The Blend knob is set by default to the Center (value is 0.500), which means half-Dry/half-
Wet. We can turn it all the way to the left (Dry signal only), all the way to the right (fully Wet,
reverberated signal) or anything in between. Remember that, no matter what, both signals
will always pass through and be processed by the preamp. Values are displayed in numbers
between 0.00 and 1.00, where 0.00 is fully Dry and 1.00 is fully Wet.
Rev Plate-140 Blend and
Width controls
15 Arturia - User Manual Reverb Plate - REV PLATE-140 CONTROL PANEL