HOWL

HOWL - A Psychedelic Reverb & Delay That Bites Back

Built in Rust as a 64-bit floating-point DSP pipeline and modelled on the design ethos of boutique analog gear, Howl gives you exactly four controls - three knobs and a 3-way toggle - and uses them to access a sonic range that stretches from subtle thickening to bloodcurdling self-oscillation. There are no presets. There is no tempo sync. There are no tooltips, menus, or hidden settings. There are no pages of parameters to dig through. Just knobs and toggle for tone - and behind them, an unusually careful piece of audio engineering.

The reverb is a feedback delay network with modulated allpass diffusion, capable of tight rooms, realistic halls, and infinite caves of sustained tail. The delay is a hermite-interpolated digital delay line with stereo ping-pong crossfeed and an inaudible sub-millisecond LFO that keeps repeats from feeling sterile. Three stages of analog-modelled saturation colour the wet signal - gentle even-harmonic warmth on input, tape-style compression on delay feedback, and a soft overdrive on the reverb tail - while the dry signal passes through completely untouched, preserving your source as a clean reference.

The filter toggle sits inside the feedback paths rather than on the output, so its tonal effect compounds with every reflection. The same compounding logic gives Howl its identity at the extremes: turn the Feedback knob past noon and the delay loop becomes a resonant oscillator that your input excites, with a tanh output stage that bounds the result musically rather than digitally.

Use Howl on guitar, bass, synths, vocals, drums, or field recordings. It's at home in ambient, shoegaze, post-rock, drone, industrial, dub, and anywhere atmosphere matters more than transparency. It is deliberately not a hi-fi reverb - if you want clean, buy clean.

Zero compromises.