>Download link< (webpage in a few days as usual)
As is obvious from the screenshot, this isn't exactly a tweakers dream. Instead I've done my best to minimize the controls so it can be setup in about ten seconds.
This is pretty much the polar opposite of my previous reverb Tila in almost every way imaginable. In fact it was designed to be so from the very beginning: this one was designed for long modulated tails. The two also play fairly well together so I've had some success using them together in series or parallel (ie Tila for early character, this one for tails). YMMV.
Anyway, this been in development forever and I've come to the conclusion that I need yet another algorithm for the "ultimate reverb of unlimited flexiblity"
so I'm releasing it as-is in hope that it's useful.
The funny manual follows
So on the left we have predelay which is what it says, reverb time which is theoretical mid-frequency RT60, and modulation which controls both the depth and rate of internal modulation (at low settings mostly the depth, at high settings mostly the rate).
Try modulation at 60-70% and reverb time at 6-10 seconds (goes up to 25sec) for some not-so-very-realistic but fun sounding stuff. This is what it does best IMHO.
On the right we have some basic tone shaping: LF damp controls the cutoff for low frequency damping and HF cutoff does the same for high frequencies. For high frequencies one can additionally control their decay rate with HF decay.
The low frequency damping is fixed (reverb time dependent), because the sweet spot really didn't seem too wide and I wanted to stay with "sorta-kinda-natural" reverbs. The main thing is to control "mud" without filtering out all the low frequencies that are kinda important for sense of space.
For high frequencies the damping is independent of reverb time (well, naturally they still decay together with everything else too) and the decay time control works as a sort of air absorption control allowing one to change the "temperature" of the reverb.
Note that if you set the two damping frequencies close to each other the actual reverb time will not be as long as the reverb time control would indicate. Also for very short reverbs the effect of damping is subtle (this is by design).
Finally we have output level control, plus mode switch between insert (mix with dry) and send (wet only).
Now, I figured I'd have to approximately tripple the complexity of the interface to fit a half-decent internal EQ, so instead you are encouraged to stick an external EQ on the send track for further tonal control.
