Echo Chamber Reverb and Delay Effect VST and VST3 Plugins for Windows 64 bit
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.
https://syntheway.com/Echo-Chamber-Reverb-Delay.htm
A highly tweakable, versatile, and inspiring solution for ambience effects, that produces a natural sounding room reverberation and delay effect giving a true room perception, from small rooms to large caverns as well as generates a doubling echo, slapback echo, ping-pong delay and analog tape delay. Offers multiple controls for modifying one or both channels to produce a rich array of time-based effects.
These VST and VST3 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.
Features:
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).
12 Reverb Presets: 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.
4 Delay Presets: Doubling Echo, Slapback Echo, Ping-Pong Delay and Analog Tape Delay.
Note: In each predefined reverb or delay these parameters are preset with values precisely calculated by Syntheway to create the sound field unique for the program. Each preset has a set of parameters that allow you to change the characteristics of the acoustic environment to precisely create the effect you want and contribute to your personal sound field, allowing you to essentially 'redesign' the spaces and echoes, provided to create custom-tailored listening environments that ideally match your mood and music.
Parameters:
- 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.
REVERB UNIT:
- 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.
DELAY UNIT
- 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).
• 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 delay character:
• Stage 1: Tone delay is slightly attenuated. Provides a warmness tone.
• Stage 2: Tone delay is slightly amplified. Something brighter in character.
* Note: Setting different delay time in left and right channels allow to create the 'Precedence effect', a binaural psychoacoustic effect, when a sound is followed by another sound separated by a sufficiently short time delay (below the listener's echo threshold). The Haas effect, also a psychoacoustic effect (by Helmut Haas) is often equated with the underlying precedence effect. The precedence effect appears if the subsequent wave fronts arrive between 10 ms and about 50 ms later than the first wave front. For speech the precedence effect disappears for delays above 50 ms, but for music the precedence effect can also appear for delays of some 100 ms. It causes a listener to perceive a space and direction of a sound when there is a slight delay between stereo channels.
Reverb and Delay Presets Description
• 1. 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.
• 2. 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.
• 3. 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.
• 4. Plate Reverb: Straight and bright reverberation plate sound. Reverb emulation that utilizes transducers that send and receive a signal through a sheet of metal.
• 5. Spring Reverb: Natural, metallic spring reverb. Similar in design to the plate, however, it uses a metal spring instead of a sheet.
• 6. Ambience Reverb: Large enclosure ambience sound. This effect adds a perfect match for pure synthetic sounds.
• 7. Church Reverb: Smooth and clear big church reverb. 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 reverberations.
• 8. Arena Reverb: This reverb effect simulates the acoustics of a large enclosure such as a sports arena.
• 9. Opera Reverb: Typical sound of a classical bright opera house.
• 10. Theater Reverb: Natural sounding audience hall of a theater.
• 11. Cathedral Reverb: Big cathedral with characteristic echoes.
• 12. Cave Reverb: Stereo Echo Delay and Reverb. This effect simulates the reverberations of a cave.
• 13. 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 doubletracking and can help greatly thicken up a vocal recording. It’s also often used for recording guitar with a stereo effect.
• 14. 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.
• 15. 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.
• 16. 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.
Reverberation, in psycho-acoustics and acoustics, is the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture and people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. The development of artificial echo/reverberation chambers was important for sound recording because of the limitations of early recording systems.
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.
https://syntheway.com/Echo-Chamber-Reverb-Delay.htm
A highly tweakable, versatile, and inspiring solution for ambience effects, that produces a natural sounding room reverberation and delay effect giving a true room perception, from small rooms to large caverns as well as generates a doubling echo, slapback echo, ping-pong delay and analog tape delay. Offers multiple controls for modifying one or both channels to produce a rich array of time-based effects.
These VST and VST3 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.
Features:
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).
12 Reverb Presets: 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.
4 Delay Presets: Doubling Echo, Slapback Echo, Ping-Pong Delay and Analog Tape Delay.
Note: In each predefined reverb or delay these parameters are preset with values precisely calculated by Syntheway to create the sound field unique for the program. Each preset has a set of parameters that allow you to change the characteristics of the acoustic environment to precisely create the effect you want and contribute to your personal sound field, allowing you to essentially 'redesign' the spaces and echoes, provided to create custom-tailored listening environments that ideally match your mood and music.
Parameters:
- 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.
REVERB UNIT:
- 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.
DELAY UNIT
- 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).
• 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 delay character:
• Stage 1: Tone delay is slightly attenuated. Provides a warmness tone.
• Stage 2: Tone delay is slightly amplified. Something brighter in character.
* Note: Setting different delay time in left and right channels allow to create the 'Precedence effect', a binaural psychoacoustic effect, when a sound is followed by another sound separated by a sufficiently short time delay (below the listener's echo threshold). The Haas effect, also a psychoacoustic effect (by Helmut Haas) is often equated with the underlying precedence effect. The precedence effect appears if the subsequent wave fronts arrive between 10 ms and about 50 ms later than the first wave front. For speech the precedence effect disappears for delays above 50 ms, but for music the precedence effect can also appear for delays of some 100 ms. It causes a listener to perceive a space and direction of a sound when there is a slight delay between stereo channels.
Reverb and Delay Presets Description
• 1. 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.
• 2. 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.
• 3. 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.
• 4. Plate Reverb: Straight and bright reverberation plate sound. Reverb emulation that utilizes transducers that send and receive a signal through a sheet of metal.
• 5. Spring Reverb: Natural, metallic spring reverb. Similar in design to the plate, however, it uses a metal spring instead of a sheet.
• 6. Ambience Reverb: Large enclosure ambience sound. This effect adds a perfect match for pure synthetic sounds.
• 7. Church Reverb: Smooth and clear big church reverb. 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 reverberations.
• 8. Arena Reverb: This reverb effect simulates the acoustics of a large enclosure such as a sports arena.
• 9. Opera Reverb: Typical sound of a classical bright opera house.
• 10. Theater Reverb: Natural sounding audience hall of a theater.
• 11. Cathedral Reverb: Big cathedral with characteristic echoes.
• 12. Cave Reverb: Stereo Echo Delay and Reverb. This effect simulates the reverberations of a cave.
• 13. 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 doubletracking and can help greatly thicken up a vocal recording. It’s also often used for recording guitar with a stereo effect.
• 14. 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.
• 15. 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.
• 16. 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.
Reverberation, in psycho-acoustics and acoustics, is the persistence of sound after a sound is produced. A reverberation, or reverb, is created when a sound or signal is reflected causing a large number of reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture and people, and air. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. The development of artificial echo/reverberation chambers was important for sound recording because of the limitations of early recording systems.