Manual

Wallace Reverb

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.

CODE LWalFORMAT AU · VST3 · StandaloneCATEGORY ReverbBUNDLE com.inotrak.levels-wallace

The interface - every control mapped

Wallace Reverb - The interface - every control mapped1234567891011
1Presets - Factory reverb starting points.
2ACTIVE · POL - Bypass, polarity.
3Reverb type - Plate / Room / Hall FDN tunings.
4Reverb knobs - Size · Decay · Damping · Diffusion · Mod · Predelay · Dry/Wet.
5MAG / PH - Curve view for the wet EQ.
6Wet EQ curve - Six dynamic bands shaping the wet only.
7Band tabs - Select a wet-EQ band.
8Band editor - Type · Freq · Gain · Q · Dynamics (+ SC per band).
9Drive - Per-band multiband distortion on the tail.
10Issues - Placeholder for a future brain clash/phase list.
11Out Gain - Final output trim.

Quick start

  1. Insert on a send/aux (or an insert with Wet/Dry pulled back).
  2. Pick a type (Plate / Room / Hall), set Decay (RT60) and Predelay.
  3. Shape the tail with Size, Damping, Diffusion, Modulation.
  4. Optionally EQ / drive the wet with the six dynamic bands — e.g. duck the tail from the dry source via a band’s SC toggle.
01

Reverb core

Reverb type

Plate / Room / Hall — FDN tunings (base delay scaling, Decay→RT60 range, tonal damping bias).

Decay (RT60)

Tail length.

Size

Scales the delay-line lengths (space / density).

Damping

How much faster highs decay than lows.

Diffusion

Input-diffuser allpass amount (smooths the onset).

Modulation

Per-line delay LFO depth — breaks up metallic ringing on sustained / tonal input.

Predelay

0–250 ms delay line in front of the FDN.

Wet/Dry

The final mix (last reverb knob). out = dry·(1−mix) + wet·mix, then output gain + polarity.

02

Wet processing (Denzel engine)

The EQ + distortion shape the wet only; the dry path is untouched.

Phase (all-pass) + MAG/PHASE

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.

Dynamic EQ (×6)

Static + upward/downward dynamic EQ on the wet tail (identical to Denzel’s engine).

Multiband distortion

Per-band drive shapers Saturate / Drive / Bitcrush / Wavefolder, oversampled where needed.

Sidechain (SC)

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.

Issues panelPlaceholder

A styled placeholder reserved for a future brain-driven clash/phase list. Wallace links no brain in v1.