Echo Chamber is a stereo reverb and delay plug-in effect, used to create psychoacoustic models to simulate sounds reflecting from surfaces in a room or space. Optionally a delay can be added to yield a spacious and open sound of a repeating, decaying echo to complete a sense of space and depth to a 'dry' input signal.
These plug-ins are perfectly suited for any type of audio production when acoustic space simulation is needed from recording to post production in 64-bit platforms. Small rooms have a high percentage of early reflections (the first feedback from the closest objects) that can give more body to tracks. It is also good with acoustic guitars and voices. Larger rooms presets are better with strings, or wind instruments and synthesizer pads.
- Reverb and delay algorithms that delivers a rich reverberation and echoes by providing a spaciousness and depth to simulate the sound reflections from walls, floors and ceilings in an acoustically reflective environment.
- Flexibility to control Left and Right channels separately in Reverb and Delay units as well as in 'dry' signal output.
- Reverb unit works as a Stereo enhancer and mono-to-stereo creator, to produce a wide stereo image or stereoize a mono sound source. In Delay unit, improves the stereo image by adding a slight delay to one of the channels.
- Delay Time manual or synced to host (Tempo Sync BPM).
Reverb and Delay Presets Description
• 01. Analog/Tape Delay: Is inspired by classic analog delays using reel-to-reel tape loops, earliest delay types in the budding Rock and Roll era of the 1950s.
• 02. Bucket Brigade Delay (BBD, Bucket Brigade Device) is a discrete-time analogue delay line, developed in 1969 by F. Sangster and K. Teer of the Philips Research Labs. The stored analogue signal is moved along the line of capacitors, one step at each clock cycle. The name comes from analogy with the term bucket brigade, used for a line of people passing buckets of water. In most signal processing applications, bucket brigades have been replaced by devices that use digital signal processing, manipulating samples in digital form. Bucket brigades still see use in specialty applications, such as guitar effects.
• 03. Crypt Echoes: This delay effect simulates the acoustics of a large enclosure such as a a stone chamber containing coffins, sarcophagus, or relics.
• 04. Doubling Echo: Is produced by adding short-range delay to a recorded sound. Delays of 30 to 50 milliseconds are the most common; longer delay times become slapback echo. Mixing the original and delayed sounds creates an effect similar to double tracking and can help greatly thicken up a vocal recording. It's also often used for recording guitar with a stereo effect.
• 5. Infinite Delay Machine: This is an aggressive delay effect to hold repeatedly.
• 06. Ping-Pong Delay: This type of delay 'pings' audio back and forth between the left and right channels, creating a wide stereo rhythmic effect. Useful to create syncopated rhythm lines that bounce from left to right.
• 07. Slapback Echo: Uses a longer delay time (75 to 250 milliseconds), with little or no feedback, often used on electric guitar, but can also be applied to drums or vocals. Most often heard in rockabilly and country.
• 8. Sync Tube Tape Delay: Inspired on the legendary, tube, tape echo "Echoplex", a tape delay effect, first made in 1959 and designed by Mike Battle. Parameters setted: 'Sync Time' = ON, with Bar Division (L) = 1/1 and Bar Division (R) = 1/2.
• 9. Tempo-Sync Delay: A Delay Tempo-Sync with Bar Division (L) = 1/4 and Bar Division (R) = 1/4D.
• 10. Tube Driven Tape Echo: A delay to replicate properties of the great '60s tape delays.
• 11. Amphitheater Reverb: It focuses to recreate the reverberation of those open-air venues used for entertainment, performances, and sports.
• 12. Auditorium Reverb: An approach to those acoustic rooms built to enable an audience to hear and watch performances.
• 13. Cathedral Reverb: A highly diffuse and large reverberation with a sections of walls, piers and columns.
• 14. Chamber Reverb: Ambient natural sound of a small chamber. A smaller physical space than a hall that results in more clarity yet still provides a blend of harmonic content and dispersion of sound.
• 15. Hall Reverb: Bright classical concert hall with strong room impression. This is a dense hall reverb In this program, the center will appear to be deep behind the main speakers, creating an expansive large hall ambience. Orchestra and opera music are suited for this sound field.
• 16. Opera Reverb: Typical sound of a classical bright opera house.
• 17. Plate Reverb: Straight and bright reverberation plate sound. Reverb emulation that utilizes transducers that send and receive a signal through a sheet of metal.
• 18. Room Reverb: This reverb effect simulates the acoustics of a small room with a low ceiling and a quick decay. The sound is very close and intimate.
• 19. Spring Reverb: Natural, metallic spring reverb. Similar in design to the plate, however, it uses a metal spring instead of a sheet.
• 20. Theater Reverb: Natural sounding audience hall of a theater.
REVERB / DELAY Combination:
• 21. Ambience Reverb: Large enclosure ambience sound. This effect adds a perfect match for pure synthetic sounds.
• 22. Arena Reverb: This reverb effect simulates the acoustics of a large enclosure such as a sports arena.
• 23. Canyon Reverb: This reverb focuses to emulates a gorge, deep cleft between escarpments or cliffs.
• 24. Catacomb Reverb: It focuses to emulate the acoustic of those subterranean passageways used as a burial place.
• 25. Cave Reverb: Stereo Echo Delay and Reverb. This effect simulates the reverberations of a cave.
• 26. Church Reverb: Smooth and clear big church reverb with a bit of delay. This program recreates the acoustic environment of a big church with a high pointed dome and columns along the sides. This interior produces very long reverberation and echoes.
• 27. Cosmos Echo Panning: A psychedelic reverberation with modulation delay.
• 28. Spatial Reverb: It drives to a large and ethereal space with a big delay.
• 29. Stadium Reverb: It simulates a very large reverberant space with some delay.
• 30. Sync Bounced Delay: A Delay Tempo-Sync with Bar Division (L) = 1/1 and Bar Division (R) = 1/2, bouncing in a reverberant space:
- 30 predefined space types, giving a virtually infinite number of possible shapes and sizes. These presets consist of some parameters to determine apparent room size, reverberation time, distance from you to the performer, etc.. Includes: 10 reverb presets, 10 delay presets and reverb and delay combination, to complement each other.
Preset Effects List:
- DEL - Analog Tape Delay.
- DEL - Bucket Brigade Delay.
- DEL - Crypt Echoes.
- DEL - Doubling Echo.
- DEL - Infinite Delay Machine.
- DEL - Ping-Pong Delay.
- DEL - Slapback Echo.
- DEL - Sync Tube Tape Delay.
- DEL - Tempo-Sync Delay.
- DEL - Tube Driven Tape Echo.
- REV - Amphitheater Reverb.
- REV - Auditorium Reverb.
- REV - Cathedral Reverb.
- REV - Chamber Reverb.
- REV - Hall Reverb.
- REV - Opera Reverb.
- REV - Plate Reverb.
- REV - Room Reverb.
- REV - Spring Reverb.
- REV - Theater Reverb.
- REV/DEL - Ambience Reverb.
- REV/DEL - Arena Reverb.
- REV/DEL - Canyon Acoustics.
- REV/DEL - Catacomb Reverb.
- REV/DEL - Cave Reverb.
- REV/DEL - Church Reverb.
- REV/DEL - Cosmos Echo Panning.
- REV/DEL - Spatial Reverb.
- REV/DEL - Stadium Reverb.
- REV/DEL - Sync Bounced Delay.
- Dry Signal Output (Left and Right): It independently controls the left and right channels 'dry' (unaffected) signals. Turn the knob clockwise to increase the dry signal or counterclockwise to decrease it. Default:0. Input signal is fully processed according to the reverb / delay stereo shaping wet assignments.
- Preset Manager: 'Browser' to load and save presets and banks, enabling to export to *.fxp (VST2 Preset), *.fxb (VST2 Bank), *.vstpreset (VST3 Preset), *.aupreset (Audio Unit Preset) plus two generic formats (plain text) providing cross-platform presets/banks.
- Wet Reverb Stereo Shaping (Left and Right): It independently controls the left and right channels wet signals. Turn the knob clockwise to increase the wet signal or counterclockwise to decrease it.
- Space Controls: Consist of size, width and depth knobs. These parameters determine the nature of the space and its properties such as its abstract geometry and determine its complexity.
- Size: This knob varies the apparent size of the simulated acoustic space by controlling the density of the early reflections as well as the slope of the buildup. Turn the knob clockwise to increase the size or counterclockwise to decrease the size.
- Width: This knob adjusts the stereo separation of the wet reverb signal. Turn the knob clockwise to widen the stereo image or counterclockwise to reduce the stereo effect.
- Depth: Adjusts the depth of the environment by controlling the apparent distance from the listener to the input source. It Ranges 0 (near) to 10 (deepest). Turn the knob clockwise to increase the depth or counterclockwise to decrease the depth.
- Color Control: Turning the control up, provides additional high-end presence in the effect.Tone Control: Changes the tone of the reverb by taking over high frequencies. At times subtle, these changes can alter the timbre or quality of auditory sensations produced by the tone of a sound of reverb, from dark to bright and everywhere in between.
- Bright: A shimmering tone. Overbearing high frequencies. Treble emphasis (Fully clockwise rotation).
- Warm: Well balanced, flat, neutral. Pleasantly spacious, with adequate reverberation (Tuning around the center position of the knob).
- Dark: A tonal balance that tilts to tones of low (deep) frequency. Weak high frequencies (Fully counterclockwise rotation).
- Presence Combo Box: Makes subtle changes to the reverb character:
- Stage 1: Tone reverb is slightly attenuated. Provides a warmness tone.
- Stage 2: Tone reverb is slightly amplified. Something brighter in character.
- Wet Delay Stereo Shaping (Left and Right): It independently controls the left and right channels wet signals. Turn the knob clockwise to increase the wet signal or counterclockwise to decrease it.
- Feedback (Left and Right Channels): Regeneration of delay. By increasing the amount of signal sent back through (or fed back, or regenerated) the number of repeats is increased Individually for left and right channels. Turn the knob clockwise to increase the rate or counterclockwise to decrease the regeneration. Also feedback can be entered by typing in the desired amount in the text box of each left or right channel.Time (Left and Right Channels): Controls the delay time. The value can either be in milliseconds or in bar divisions if the Tempo Sync (BPM) is switched ON.
- Manual Time (Left and Right Channels): This knob sets the delay time manually. Controls the speed of the effect when not synchronized to host tempo. Improves the stereo image by adding a slight delay to one of the channels. Time can be entered by typing in the desired amount in the text box of each left or right channel in milliseconds.
- Tempo Sync (BPM) ON/OFF:
- OFF (Default) makes no synchronisation. Time is set by the user by 'Manual Time' knob.
- ON allows to sync the delay tempo to the host. Controls the speed of the synchronized effect to the project tempo, including tempo changes. Also is mapped to control the delay subdivisions for some tempo synced delay changes. Switch options have programmed subdivision, it goes from 1/1 to 1/16 triplet.
- Bar Divisions (Combo Box. Left and right channels): Used with 'Sync Time (BPM) =ON' makes the Delay time sync to the host BPM and allows specifying delay times in musical note durations. Independently control the left and right channel signals. Default 1/1 in both L/R channels.
- Range: 1/1, 1/2, 1/2D, 1/2T, 1/4, 1/4D, 1/4T, 1/8, 1/8D, 1/8T, 1/16, 1/16D, 1/16T. Improve the stereo image by adding a slight delay to one of the channels.
- T = Triplet: Delay time equal to 2/3 of the duration of the selected vote value.
- D = Dotted: Delay time equal to 3/2 of the duration of the selected note value.
- Color Control: Turning the control up, provides additional high-end presence in the delay effect.Tone Control: Changes the tone of the delay by taking over high frequencies. At times subtle, these changes can alter the timbre or quality of auditory sensations produced by the tone of a sound of reverb, from dark to bright and everywhere in between.
- Bright: A shimmering tone. Overbearing high frequencies. Treble emphasis (Fully clockwise rotation).
- Presence Combo Box: Makes subtle changes to the delay character:
- Stage 1: Tone delay is slightly attenuated. Provides a warmness tone.
- Stage 2: Tone delay is slightly amplified. Something brighter in character.