I spent several months trying to nail down the perfect algorithm. Well, this isn’t it, but it’s the best design I’ve managed to come up with thus far. It’s predecessor is more economic, hitting the ceiling at 12% CPU, while version 1.2 pushes 16% with the “Signal Gate” module engaged.
In addition to a slightly more complex feedback network, Cloud 9 v1.2 features separate diffusion controls for both Early and Late Reflections, an “Offset” control that basically staggers the predelay times from left to right, which produces more realistic early reflections.
“ER Damping” is somewhat self explanatory, with controls for “Low”, “Mid” and “High” Shelf EQ modules, whereas “LR Filter” is just a simple 1-pole 6 dB Highpass and Lowpass filter in series.
Another interesting feature is a “Dry/Wet” knob, bypassing the feedback network completely when turned all the way down, literally switching off the entire reverb effect, allowing only the dry signal to pass through unaffected.
The “Signal Gate” module has three modes, the first being the simplest: The incoming audio is translated as a gate signal with a linear amplitude value of 0-1 that triggers an Attack and Release envelope throttling the incoming (unreverberated) dry signal.
When “Tail” is engaged, the envelope attenuates only the outgoing (reverberated) signal. When “Choke” is engaged, the entire signal chain, both dry and wet, are manipulated by the envelope, allowing for volume swells when the “Hold” button is either manually pressed or triggered by your midi keyboard’s sustain pedal.
These parameters allow for a more dynamic control over the diffuser chain, resulting in a more useful and versatile reverb tailored for live performance and production, with a manageable size and tolerable CPU hit.
I had fun making it. Have fun using it 🙂
— Bryan Lake