Manual
A reverb built on a custom 8-line feedback delay network (Plate / Room / Hall), feeding Denzel’s dynamic-EQ + multiband-distortion engine applied to the wet signal only, with a per-band external sidechain. Brain-free in v1.
The interface - every control mapped
1234567891011Plate / Room / Hall — FDN tunings (base delay scaling, Decay→RT60 range, tonal damping bias).
Tail length.
Scales the delay-line lengths (space / density).
How much faster highs decay than lows.
Input-diffuser allpass amount (smooths the onset).
Per-line delay LFO depth — breaks up metallic ringing on sustained / tonal input.
0–250 ms delay line in front of the FDN.
The final mix (last reverb knob). out = dry·(1−mix) + wet·mix, then output gain + polarity.
The EQ + distortion shape the wet only; the dry path is untouched.
The wet EQ carries Denzel’s full engine, including 2nd-order all-pass Phase bands — unity magnitude at every frequency, rotating phase up to 360° around freq (Q sets tightness) without touching tone or level. On a reverb this de-combs the tail: an all-pass turn can uncross a metallic, phasey wet signal against the dry without any tonal EQ. The MAG / PHASE toggle above the curve swaps the graph to the summed phase response (−180°..+180°, same coefficients as the audio) so you can see the rotation you’re applying.
Static + upward/downward dynamic EQ on the wet tail (identical to Denzel’s engine).
Per-band drive shapers Saturate / Drive / Bitcrush / Wavefolder, oversampled where needed.
Each dynamic band can key detection off an external sidechain input instead of its own energy. Standard use: duck the reverb tail from the dry source. Falls back to internal detection when nothing is routed.
A styled placeholder reserved for a future brain-driven clash/phase list. Wallace links no brain in v1.