Wallace Reverb

Plate / 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 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.