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.

It is not very tweakable if you don't know what you're doing; If you stick to the obvious controls (mix, size, feedback, lowpass, highpass) you should be safe with the defaults for the others. Don't be afraid to experiment freely!

This reverb works unlike any other reverb out there so don't try too hard to think in terms of the usual parameters. It isn't the usual "parallel combs + allpass" or anything like that. With mode on "A", it becomes more the typical parallel configuration.

Main parameters
• Mix - A cross-blend between wet/dry.
• Mode - The first setting configures the reverb into a more standard parallel configuration, the second into a unique configuration.
• Modulation & Rate - The tap positions are modulated by a special lfo wave to help eliminate any static peaks which would create a more metallic timbre. It can also be used for pitch effects and chorus.

Early reflections section
• Delay - Pre-delay time
• Direction - Whether the early reflections should fade in, or fade out
• Range - Range of the early reflections, from the minimum set by "delay", to the maximum set by this parameter
• Spread - Base delay time is set with the "size" or "range" parameters. Spread decides how much the times for different taps "fan out" toward zero. Maximum will give you the largest variation in delay lengths, but that will sound more metallic. Around 50% is usually ideal, but this parameter is used to adjust timbre. You may want metallic, or you may want a very phasey/delayed timbre which you can get by setting it to minimum.
• Distribution - Decides if the taps should be concentrated on one side (many short times, with few long ones) or on the other (few short times, with many long ones)

Main reverberation section
• Elements - How many individual delays/diffusors/etc are set up. More means you'll get less "grainy" or "echoy" sounds, with increased cpu usage.
• Size - Over-all "size" of the reverberation. This also 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, extremely long complex echo patterns. Please do not set the size to 100% and expect it to sound like a reverb; This is essentially setting the space between walls to several kilometers.
• Feedback - Amount of feedback in individual elements, this decides mainly the decay time. With mode "A", it is the decay time.
• Width - Difference between left and right channel tap positions which adds "stereo depth". It is true stereo; Mixing back to mono will still sound good. Adding a stereo widener will actually work! With reverbs which use one internally, it often sounds bad adding another on top which isn't the case here.
• 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.
• 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.

Global settings
• Lowpass - High cut, removes high frequencies.
• Highpass - Low cut, removes low frequencies.
• Echo - Global delay time applied to feedback for the whole reverberation.
• Echo feedback - How much global feedback is applied. In mode a, this can get out of control and increase in volume forever - be careful with it. I'll need to put in some kind of special handling for this to automatically turn down the control if the feedback is above a certain level or something like that. In mode b, you can use 100% global feedback to produce infinite sustain. The filters will remove content, so you'll still hear a decay of the frequency content. For true infinite sustain you must disable the filters and set both feedback parameters to 100%.