Send A up on the snare. The bass's Send A stays off.
The routing menu in the middle of the display: Convolution.
Play each one, then give it one word for what you hear.
Era by era
Era 1, room: IR category Real Places.
Era 1, chamber: Chambers and Large Rooms.
Era 1, spring: Springs.
Era 1, plate: Plates.
Era 2, on a send: keep Plates. Play the snare and the bass together: one in the space, one dry.
Era 3, gated: a Gate after Hybrid Reverb on Return A. Unfold its sidechain, switch Sidechain on, pick the snare track, Mix 100% (the manual calls it Dry/Wet). Floor −inf dB, Hold and Release short. Raise Threshold until the tail is cut dead after each hit. Then switch the Gate off.
Era 4, digital unit: routing Algorithm, Dark Hall, Decay 2.00 s, Damping low for a bright tail, Vintage: Old. Then turn Decay up further than any plate could ring.
Era 5, convolution: back to routing Convolution, Real Places. This engine is era 5's method: a recorded impulse response, applied to the snare.
Hybrid: routing Parallel, IR category Early Reflections, algorithm Dark Hall, Blend 50/50: the early reflections of a real place, then a tail you can set.
For the essay, one era at a timeIn [era], reverb came from [machine], which makes its tail by [how], so it sounds [what you hear].
Silent on purpose: you hear the real sounds in Live, with the card at the end. The machines are sketches of how each one works, and the tails beside them show what the reverb chapters describe (a twang, dense and bright, cut dead). They are drawings, not measurements. Era dates are the ones in the Five Eras chapters. Made for a laptop or the whiteboard.