The fourth generation of my reverb.
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.
- Pre-delay time before first reflection.
- Whether the early reflections should fade in or out.
- Number of reflections. A zero setting here disables the diffusion stage.
- 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).
- 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.
- 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!
- Amount of feedback in individual elements; This influences the decay time.
- 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.
- 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.
- Algorithim A is a standard parallel configuration, B is a unique configuration.
- Whether the main reverberation should fade in, or fade out.
- How echoy or metallic the timbre is, how far apart delay taps are.
- How many delay taps are allocated to near or far times.
- Amount of high frequency content (like high-cut).
- Amount of low frequency content (like low-cut).
- 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.
- 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%.
- A cross-blend between wet/dry.
- Offset added between left and right channel tap positions.
- Gain applied to the wet signal output if needed to make up for any loses due to filters.
- Center frequency of band-pass tone control filter.
- Width of band for the tone control filter.
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.
The tap positions are modulated by an LFO to help smooth any static peaks. It can also be used for pitch effects and chorus.
The tail stage diffuses the phase of the early-reflections input over time from distinct clicks to entirely diffuse noise.
This tone control is applied to the tail delay lines.
Global delay + feedback.
This tone control is a band-pass filter applied to the wet signal immediately before it is mixed to the output.
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.
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.
- 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.