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Based on the hall algorithms of the late 1970s and early 1980s. Huge spatial image, echo density that can be adjusted from very sparse to very dense, and lush chorusing modulation. Fairly "clean" tone, without converter coloration.
This generates DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. The modulation uses internal delay randomization, to reduce metallic artifacts without the pitch change that can occur in the algorithms with chorused modulation.
DEEP and WIDE reverbs, with a slow attack, and more diffusion than the late 1980s algorithms that inspired it. Similar to Random Space, but with the delay randomization replaced with lush chorused modulation.
Inspired by a classic German digital reverberator from the 1970s. Discrete early reflections, a dense late reverb that rapidly builds in echo density, lush detuned modulation. Sanctuary incorporates the bit reduction and floating-point gain control used in the A/D and D/A convertors of the early digital hardware.
A fresh look at the Concert Hall algorithm, with the goal being to emulate the strange fixed point and convertor artifacts of early 1980s reverb hardware. Lusher and denser than the Concert Hall algorithm, with loads of warmth and grit on tap, for a roughly hewn beauty. Plug in your analog synth and send yourself into retro sci-fi heaven.
All the warm and gritty artifacts of Dirty Hall, applied to an old-school digital plate algorithm. High echo density, wide stereo image, and just the right amount of metallic sheen. Drums come alive when sent through Dirty Plate.
The complete opposite of Dirty Plate. Smooth decay at all settings, from short to near-eternal. Lush chorusing, with none of the metal found in Dirty Plate. The most transparent and naturalistic reverb in ValhallaVintageVerb. Crank up the Size parameter, and float off into space!
A smooth and transparent room reverb, in the Smooth Plate style. Useful for emulating the Room/Hall algorithms of late 1980s hardware, as well as getting clear reverberation with low amounts of coloration.
A chaotic take on the Concert Hall algorithm, with modulation and saturation artifacts inspired by classic tape echoes. Lush and warm, with subtle wow and flutter chorusing that adds depth without making your reverb seasick.
An updated version of an FV-1 algorithm created by Sean Costello in 2014. Long, clear decays, with ensemble modulation, and a realistic high frequency decay. Perfect for synths, vocals, and anything that needs a big open reverb.
Our take on a late 1970s chamber algorithm, with modern approaches to modulation and control over reverb decay. Lots of color and character. Great for very short room reverbs and ambiences, smooth vocal and acoustic chambers, and huge synth reverbs.
A new approach to the classic Concert Hall algorithm, with modifications for a smoother decay, less metallic sound, lusher modulation, and a more "vintage" tonality. Perfect for vintage digital hall sounds, but also works for small rooms and shorter reverbs, as well as huge ambient sounds.
The COLOR control dials in the tone color and sonic artifacts of each specific reverb era. The 1970s color model is dark and noisy with the potential for strange and random artifacts. The 1980s is still funky, but with a brighter sound. NOW is too digital, clean, and colorless. As you switch through the eras, the colors of your GUI change, too.
Replicates the reduced bandwidth of the earliest digital reverberators (10 kHz maximum output frequency). Downsampled internally to reproduce the artifacts of running at a lower sampling rate. The modulation is dark and noisy and can produce strange and random sidebands with sustained notes. This is intentional.
Full bandwidth/sampling rate, for a brighter sound than the 1970s. The modulation is still dark and noisy but will produce different artifacts than the 1970s mode as it is running at the full sampling rate.
The MODE control is the most powerful Supermassive control, as the different algorithms have very different attack, sustain, and decay characteristics. For more details, head to the ValhallaSupermassive Modes blog post. Supermassive uses a variety of feedback delay networks, where each delay in the structure can be up to 2 seconds long. Combine these long delays with the unique WARP control, and the results range from echoes that slowly fade in, to cascading harmonic echoes, to lush reverbs, onwards to reverbs that decay way over the course of minutes.
This mode has a relatively fast attack time, and a very lush and long exponential decay. The Hydra mode is very sensitive to the DENSITY parameter. With DENSITY at 0%, Hydra can sound like a fairly simple echo. Turn up the DENSITY, and the echo density rapidly increases towards a complicated reverb/echo structure. The modulation can be very lush in Hydra.
A mode that can have VERY long initial delays with DENSITY set to zero, and the potential for looping delays or huge reverbs. The DENSITY control allows for extremely sparse reverbs when at 0%, or dense lush reverbs when set above 60%. Large Magellanic Cloud can be viewed as a cross between Centaurus and an oversized variant of the Lyra mode.
A delay mode that can act as a looper, as a gigantic lush reverb, or as a repeating delay with independent control over the individual repeats and the overall decay time. With the Triangulum DENSITY control at 0%, the result will be repeating echoes at 8X the displayed DELAY setting. DENSITY settings greater than 0% will introduce diffuse echoes at shorter delay lengths, that "fill in" the space of the longer echoes.
Similar to Cirrus Major, but smaller and less dense. Strange repeating echoes, low initial density, significant predelay before the reverb. Turn up the size, turn down the density, and let the echoes evolve over time. Or crank up the density and turn down the size, for a perfect mid-80s digital room reverb.
A reverb/echo algorithm that has a fast attack and initially sparse echo density, but can build up into massively dense and long reverbs. The Density control is very sensitive on Cassiopeia, and can be used to create lush reverbs by itself. Setting Warp to 0% will result in a repeating echo pattern every 4th beat, which is useful for rhythmic delays and looping.
The larger version of the Cassiopeia algorithm. A reverb/echo that has a fast attack and initially sparse echo density, but can build up into massively dense and long reverbs. The Density control is very sensitive on Orion, and can be used to create lush reverbs by itself with a very long decay. Setting Warp to 0% will result in a repeating echo pattern every 8th beat, which is useful for rhythmic delays and looping. Strange resonances can be audible at some settings.
A dedicated EchoVerb mode, where the left and right outputs always have the same audible echo/delay (with a length that directly corresponds to the main DELAY length). Turning up DENSITY brings other delays into the feedback path, resulting in a lush reverb that always has a strong echo or predelay.
A lush, dense, highly useful reverb. Medium attack, medium to long decays, and smooth balanced modulation. The High EQ and Low EQ filters are in the feedback paths of each delay, which allows for natural damping of the reverb decay, as well as shaving off the low frequencies for a less "boomy" decay. Perfect for synth reverbs, ethereal vocals, and just about everything.
The largest, densest, lushest mode in Supermassive. Leo has a very slow attack, a long to VERY long decay, a high echo density, balanced modulation, and lots of control over the high & low frequency decay. Perfect for big synthesizer sounds, as well as realistic cathedral sounds and other long reverbs.
The smallest and sparsest mode in Supermassive. Virgo has a fast attack, and basically sounds and behaves like a stereo delay until the Density control is turned up. Great for pointillistic echoes, spring-ish reverb sounds, and complex delays that create more space around your music.
Controls the wet/dry mix of Supermassive. 0% is a completely dry signal, 100% is only the reverb/delay signal, and values in between mix in different amounts of the reverb signal. Click on the MIX label above the control to lock/unlock the MIX control at the last value selected. This is useful when browsing through presets, or for using Supermassive on a send (when you want it set to 100% wet).
Controls the width of the reverb/delay output of Supermassive. 100% is maximum width, 0% is mono, and values less than 0% will reverse the left and right outputs. Some of the Supermassive sounds will spin around your head from left to right; setting WIDTH to -100% will reverse this direction.
Affects the lengths of the delays in the feedback delay network, relative to the DELAY setting. This can be used to transform a sound from simple echoes, to resonant echoes and smeared repeats, all the way to lush reverbs.
Controls the amount of feedback around the delays in the feedback delay networks. Larger values will result in longer decays. For some of the MODES, the FEEDBACK setting will also affect the initial attack time of the sound (see the Modes blog post for more info).
Introducing ValhallaSupermassive
ValhallaSupermassive: The Controls
ValhallaSupermassive: The Modes
The Philosophy Of ValhallaSupermassive
Why Is Supermassive Free?
ValhallaSupermassive Updated to 1.1.1
ValhallaSupermassive Updated to 1.5.0: Cassiopeia and Orion Modes
ValhallaSupermassive 1.2.0 Update: Cirrus Major and Cirrus Minor
ValhallaSupermassive 2.0.0 Update: Aquarius and Pisces Modes
Hello out there, is there anyone there?Is there a reverb module that will do similar fx to Valhalla Shimmer type fxs? Would a good delay and reverb combo do the task? Any recommendations would be much appreciated.Thanks Adrian/Kleinemaschinen
Description: reverb will suddenly cut out after a few seconds if no sample is playing on that track. The amount of time this takes is seemingly random (different results when playing the same pattern a few times). Then, if I set the volume on the track to -inf and trigger another sample, the reverb suddenly comes back in. It happens both when I playback in Renoise and in rendered wav files.
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