IR Reverb

Parameters

Controls and display

Three wet processors, placeable as ordinary inserts (Mix = dry/wet) or on FX returns (Mix pinned 100 % wet). Up to three wet inserts per chain.

IR Reverb (convolution): Space room/hall/plate (hall) · Decay 0.2–8 s (2.0) · Pre-delay 0–250 ms (10) · Tone 0–1 (0.5) · Mix. The impulse is a procedural space — the room starts with three early reflections at 7, 11 and 19 ms, the hall with a 20 ms soft onset, the plate is dense from the first sample — and the decay is scaled per space (room × 0.55, hall × 1.0, plate × 0.75), so the face always prints RT60 · TRUE beside the knob: Decay 2.0 on a room is a 1.1 s tail.

Tone is a low-pass on the impulse (1.2–18 kHz), a shelf on the whole tail rather than damping. Surface: the tail waterfall — the impulse as a spectrogram, time across, frequency (60 Hz–20 kHz, log) up, brightness = level — with the tone cutoff as a dashed ceiling (a dark tone dims everything above it from the first column to the last), the true RT60 as an amber line and the pre-delay as the black column at the left; the wet level breathes through it.

In the focus pane three grab dots edit on the glass: the tone dot (up/down; double-click = 50 %), the RT60 dot (sideways = Decay, through the space's scale) and the Pre dot (sideways). The four knobs sit in one deck under the picture; the right card holds the WET lamp, the three SPACE pads (each wearing a glyph of its first 100 ms) and RT60 · TRUE, TONE CUTOFF, SEND IN and WET OUT. In the focus pane the FIELD · PRINT chip switches to the room print: the first 100 ms of the impulse at full zoom — the only place the three spaces differ — beside the whole tail as an envelope falling to −60 dB.

The same switch is view.ir_print.

All three share a breathing WET lamp, send-in/wet-out metering, and contribute a real decay tail so track freeze doesn't chop a ringing reverb.