Valhalla FutureVerb

A clean echo mode, perfect for standard predelay duties. Smooth sinusoidal modulation, that can transform into four voices of 0/90/180/270 degree modulation as the Spread control is turned up. Drive is used to control a clean feedforward/feedback compressor, that can increase the volume without adding notable artifacts.

A fairly clean tape echo, with gentle chaotic modulation and warm overdrive, but with none of the noise found in real tape echoes. Turn up the Spread control to transform the stereo tape delay into 4 parallel tape echos of different lengths that are all feeding into each other.

A digital delay model, based around a companded 12-bit delay (8-bits in the Dark and Studio modes). A clean-ish delay, but with plenty of crunchy distortion and quantization noise on tap with the Drive control. 0/90/180/270 degree modulation for maximum spatial width and lush chorusing.

An idealized bucket brigade delay. All of the warm compression of BBDs, but much brighter and cleaner than the real thing. Sinusoidal up/down modulation, for adding some subtle chorusing - or switch the routing to Reverb->Echo for seasick modulated lofi reverbs.

Two crystal clear detuned delays, with up/down detuning between the left and right channels. Turn up the Spread control to add two more detuned delays, for lush detuned echoes and richly textured reverbs.

Reversed detuned granular delays. Use the Spread control to crossfade between two and eight(!) delays in parallel. Turn up the feedback for truly mysterious delays and reverbs.

Similar to the Reverse mode, but with four of the eight reverse delays shifted up an octave. Turn up the Spread to mix in the octave shifted delays, and crank up the Feedback for classic shimmer reverbs.

The Reverse mode, with four of the eight reverse detuned delays shifted down an octave. Ideal for dark and descending shimmer verbs, or for adding mysterious overtones to any sound.

Eight reversed delays: 4 detuned, 2 shifted up an octave, 2 shifted down an octave. Want a huge shimmer reverb? ReverseOctUpDown is there for you.

A new type of pitch shifting. Use the Spread control to fade between two and eight detuned granular delays, with VERY long grain durations, and four of the delays shifted up an octave. Ideal for stunningly clear and transparent shimmer reverbs, with none of the modulation noise of the Reverse modes.

The dark side of the Sparkle algorithm. Eight detuned and pitch shifted granular delays, tuned for maximum dissonance. Turn up the Spread control, and slowly turn up the Detune knob to create tonal clusters that transform into rich octaves and fifths. Wanna make a horror soundtrack? Love late 20th century composition? The Swarm mode is there for you.

A tape algorithm that has been used and abused without proper maintenance. We start with our Tape algorithm, and add more overdrive, low frequency drift, and chaotic high frequency flutter. The results are warm, noisy and mysterious. Perfect for adding a tape predelay to a reverb, for sparse chaotic reverbs (turn up the Spread control), or for truly vintage tape echoes.

A realistic and versatile model of an enclosed space, ranging in size from small to fairly big. The Room mode has a very open sound, with little resonance. This mode can be used for drums, vocals, and pretty much anything that needs reverb. Fast attack, dense early reflections that can be dialed in or out by the Early/Late control, and a natural decay of high frequencies.

A realistic model of a reverb (“echo”) chamber. More resonant than the Room mode, with a very fast onset of reverb, and a boomier low end that can be dialed in or out via the Low Freq EQ setting.

Based on a physical steel plate, with a lower resonance density than the other reverb modes. Fast reverb onset, realistic dispersion for a more “metallic” sound, and a big low frequency decay that is controlled by the Low Freq EQ setting.

A realistic concert hall model, with a high echo and resonance density. Medium fast to slow attack, controlled by the Early/Late control - turn this up to move the listener further back into the hall.

A huge open reverb, modeled after medieval cathedrals. Slowish attack, huge low frequency decay (controlled by the Low Freq EQ setting), and a vast transparent sound. Perfect for epic ballad vocals, giant synth spaces, and anywhere where a big, "expensive sounding" reverb is needed.

What is bigger than a Cathedral? SPACE, that's what. Transparent sound, lush modulation, and the ability to dial in attack times ranging from instant to glacially slow. Perfect for ambient synths, ambient guitars, ambient...you get the idea.

A unique reverb algorithm to FutureVerb™. Frozen can be viewed as the largest nonlinear reverb ever. Turn up the Size control to create reverbs that don't decay so much as hang in space for several seconds, or several tens of seconds. Use the Attack control to have the sound hit instantly, or fade the reverb in over time. Lush modulation on tap to make things that much more epic.

A classic nonlinear / "gated" reverb, that can generate gated reverb ranging from several tens of milliseconds in length up to 1 second. The Attack control allows you to push the Nonlin sound up front in the mix, or turn up the Attack to have the Nonlin sound melt into your mix.

The brightest Color mode in FutureVerb. The high frequency decay is controlled by the High Freq EQ, with very high frequency settings allowing for reverbs with almost no attenuation of high frequencies. Perfect for synth reverbs where the synth filters control the overall tonality, or for any situation where brightness is desired.

The most natural Color mode. The high frequency decay of all the reverb modes is limited to that found in real world acoustic spaces (i.e. 1 to 1.5 seconds max RT60 for high frequencies). Ideal for realistic rooms / halls / cathedrals, and any time you want the reverb to blend into the mix.

A natural high frequency decay, that is then filtered by a steep 8 kHz lowpass filter. Useful for a more "vintage" reverb sound, or any situation where you want unobtrusive reverbs.

A classic processing trick used in recording studios of the 1960s and 1970s. A steep high cut filter at 10 kHz is combined with a steep 600 Hz low cut filter. The resulting sound is strangely dull and thin, until you listen to it in the mix, where it blends in without any mud.