Effects documentation

Delay
Reverb
Dynamic
Compressor
Gate
Limiter
Midi
Notelogic
Modulation
Follower
mDelay
Phaser
Tremolo
Timbre
Clipper
Multiplier
Quantizer
Rectifier
Ringmod

Reverb

The fourth generation of my reverb.

Description

In this version I've implemented both modes; You can get sounds similar to the first and second generation using mode one, and the third generation using mode two.

Screenshot

Reverb screenshot

Parameters

Diffuse

The diffusion stage is often called "early reflections". The purpose of this stage is to create a complex multi-tap comb filter which feeds into the tail stage thereby coloring the timbre of the entire reverb.

Delay
Pre-delay time before first reflection.
Direction
Whether the early reflections should fade in or out.
Density
Number of reflections. A zero setting here disables the diffusion stage.
Spread
Spread decides how much the times for different taps "fan out" toward zero.

Maximum will give you the largest variation in delay lengths and will sound more metallic. Around 50% is usually ideal. This parameter can be used to adjust overall timbre. You may want metallic (high = plate), a balanced setting (medium = room, hall) or a very phasey/delayed timbre (low = weird).

Distribution
Decides if the taps should be concentrated on one side or the other.

In other words many short times with a few long ones or a few short times with many long ones.

Mod

The tap positions are modulated by an LFO to help smooth any static peaks. It can also be used for pitch effects and chorus.

Rate
...
Depth
...
Tail

The tail stage diffuses the phase of the early-reflections input over time from distinct clicks to entirely diffuse noise.

Size
Over-all "size" of the reverberation.

This has a direct influence on the average length of all delay taps. Very short for metal bucket timbres, first third for rooms, middle third for halls, last third for canyons and extremely long complex echo patterns. Please do not set the size to 100% and expect it to sound like a reverb as this is essentially setting the space between walls to several kilometers!

Decay
Amount of feedback in individual elements; This influences the decay time.
Diffuse
Amount of diffusion between elements.

Low settings will produce more direct, delayed sounds. High settings will produce over time a very high impulse density; Over time the signal will move in more and more directions eventually becoming a hiss or white noise in terms of phase.

Density
How many individual delays/diffusors/etc are set up.

More elements will give you less "grainy" or "echoy" sounds as more filters will be applied in series with the consequence of proportionately increasing processing cost.

Algorithm
Algorithim A is a standard parallel configuration, B is a unique configuration.
Direction
Whether the main reverberation should fade in, or fade out.
Spread
How echoy or metallic the timbre is, how far apart delay taps are.
Distribution
How many delay taps are allocated to near or far times.
Tone

This tone control is applied to the tail delay lines.

High
Amount of high frequency content (like high-cut).
Low
Amount of low frequency content (like low-cut).
Echo

Global delay + feedback.

Delay
Delay time applied to the whole reverberation.

Algorithm A applies this delay before the output. Algorithm B applies it after the output and before global feedback.

Feedback
How much feedback is applied.

For algorithm A this is a plain old delay line with feedback. For algorithm B you can use 100% global feedback to produce infinite sustain. The filters (including interpolation) will remove content so you'll still hear a decay of the frequency content. For true infinite sustain you must disable all filters and modulation and set both feedback parameters to 100%.

Output
Mix
A cross-blend between wet/dry.
Width
Offset added between left and right channel tap positions.
Gain
Gain applied to the wet signal output if needed to make up for any loses due to filters.
Tone

This tone control is a band-pass filter applied to the wet signal immediately before it is mixed to the output.

Frequency
Center frequency of band-pass tone control filter.
Width
Width of band for the tone control filter.

Comments

This reverb has a unique implementation so don't try too hard to think in terms of the usual parameters.

With algorithm A it takes on a typical parallel configuration and may behave in a more familiar way.

Download

These links are provided only for those who need a copy of an individual plug-in without the installer.

If you want all of the effects you are much better off to download the complete package rather than the individual plug-ins.

Requirements
Windows Vista (recommended Windows 7 SP1 or greater.)
(This could be solved by request if anyone ever needed XP support.

These files contain only the Reverb plug-in dll.