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.

Reverb (algorithmic): Decay 0.2–12 s (1.8) · Pre-delay 0–250 ms (20) · Tone 0–1 (0.5) · Mix. It is the one device wearing the icy front panel rather than the dark console skin: a pale blue-grey chassis, raised light cards, deep-navy instrument wells and glossy dark knobs with cyan value arcs and fine tick scales. Outside the dock it carries a header band — a ⏻ lamp (the same bypass as the device header's power button, so either one switches the reverb and the tail is left in place) beside the REVERB wordmark, and a live IN / WET pair at the right reading the level entering the reverb and the wet it is returning.

Surface (the decay dial): the DECAY knob sits in the left card, sized to the card (it grows with the pane) inside a bezel wearing the ring arc — the wet level right now, −60 to 0 dB around the knob, in the accent while the reverb is quieter than the source and amber once it is louder — with a 0.2…12 s scale outside it (the knob turns ON that scale, so the value you read is the tick you are pointing at); the RING cell under the knob reads the same level in dB.

The middle card is the tail scope: the reverb's own shape on a log-time axis — the pre-delay gap shaded, four small ticks for the comb onsets, the fall to −60 dB at the decay time, and a dashed −40 line where a tail stops being heard. Every hit drops a glowing pip at the onset that slides down the curve in real time, amber while that ring is louder than the source. Two grab dots: PRE (the onset edge) and DECAY (the toe), both drag sideways; double-click either for its default (20 ms / 1.8 s).

In the focus pane a TONE strip sits under the scope: the low-pass drawn over the band with the cutoff dot (drag sideways; double-click for the middle) and the word DARK / NATURAL / BRIGHT. PRE, TONE and MIX sit in a deck under it. The right card (THE RING) reads TAIL (the seconds until the ring crosses −40 dB at this decay) as its numeral, then a row each for WASH (the share of the last three seconds the reverb was louder than the source — the number that says it is drowning the vocal; amber past 15 %, red past 40 %), GAP (the pre-delay), TONE cutoff (1.2–18 kHz) and DRY (the level entering the reverb, live) — caption, value, and a lit bar under each.

Those rows are readouts, not controls: the reverb has exactly four parameters (decay, pre-delay, tone, mix), so the bars carry no handle and nothing on that card can be dragged. Where the card is tall enough it repeats the IN / WET meters at its foot. In the dock the same four rows fold to one line each — caption left, value right, unit on the value — so they stay readable at panel size. In the focus pane the SCOPE · TAPE chip switches to the ring tape: six seconds of the dry as a faint filled trace and the wet as the bright line on one −60…0 axis, the wash filled amber wherever the wet is over the dry, the −40 line, and the reverb's own stencil laid on the newest hit — a bracket for the pre-delay gap (its dot drags PRE) and a dashed slope falling −60 dB over the decay (its foot drags DECAY).

The same switch is view.rev_tape.

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.