61/130 MB

BiRR2D and BiRR3D are room simulators that accurately emulate the sound produced by a monophonic and omnidirectionnal source perceived by a listener in a rectangular (2D) or parallelepipedic (3D) room.

User can control (x, y, z) dimensions of the room, and position of source and listener in the room. The orientation of the listener can also be adjusted. Wall properties are adjusted with two or three parameters:

Wall absorbtion : a coefficient between 0 an 1, representing a reflection coefficient. The acoustic wave amplitude is multiplied by this coefficient at each wall rebound. Higher values produce a shorter reverb.

Wall high frequency absobtion : this parameter controls the high frequency absorbtion wall rebounds. Higher values produce darker reverb sound.

Wall diffusion : this parameter controls the wall diffusion properties (parameter only available in the ambisonic version, otherwise fixed to 1e-3, but this is subject to change)

The input is mono or stereo, depending on the chosen version (mono in or stereo in). The output sound is a stereo reverberberated sound with one of the following configurations:

Two cardioid microphones in XY configuration

One cardioid and one eight-pattern microphones, in MS configuration

One omni and one eight-pattern microphone, in MS configuration

Binaural receptor based on the HRTF provided by MIT medialab (https://sound.media.mit.edu/resources/KEMAR.html), and equalized to sound as neutral as possible compared to the dry original sound.

Ambisonic output (for the ambisonic version)

The 2D version simulates a 2D rectangular flat domain. Consequently, the produced binaural sound doesn’t consider height information for sources and listener. The 3D version simmulates a parallelepipedic room, height position of the sources and listener. The latter hence involves more cpu computations for the impulse responses calculations.

Direct path and reflections paths
when a parameter is changed, two stereo impluse responses are calculted and sent to convolution processors:

The direct path impluse response.

The impulse response due to multiple reflections on walls.

The effect level of direct path and reflections can be adjusted separately. These can be sought as dry and wet parameters of the reverb, although the produced sound is physically acurate when both parameters are equal.

Stereo width
In the XY configuration, this parameter specifies the angle between the two cardioid microphones. At its minimum the angle is zero and the produced sound is mono. At its maximum value, the angle equals 180 degrees, the microphones being perpendicular to the head axis. In the standard XY configuration, the angle equals 90 degrees, which occurs when the width parameter equals 0.5.

In the MS configurations the stereo with quantifies the amplitude of the figure eight microphone signal (between 0 and 1).

The stereo width parameter has no effect in the binaural configuration.

There is no such parameter in the ambisonic version

Parameters updating
At each parameter update (except reverb levels and head orientation in the ambisonic version), the impulse response is calculated. As each acoustic path has to be calculated, the computation time can be high, in particular if the damping is small.

A number of threads equal to the number of CPUs – 1 is employed for the impulse response calculation, which allows reasonable computation times (At most a few seconds for largest reverberation times on recent CPUs).

Important note: the fact that some calculation time is necessary after each parameter change prevents parameter automation, as they cannot be updated in real time. Consequently, this plugin cannot be used to move sounds in the virtual space.

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BiRR 0.0.5-WiN  ( 61 MB )

BiRR 0.0.5-Linux  ( 130 MB )

20 MB

Next level plate reverberation

epicPLATE delivers a modern recreation of classic plate reverberation. It covers the fast and consistent reverb build up as well as that distinct tonality the plate reverb is known for and still so much beloved today. Its unique reverb diffusion makes it a perfect companion for all kinds of delay effects and a perfect fit not only for vocals and drums.

The mkII version introduces a slick new user experience, VST3 support as well as higher quality processing.

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epicPLATEmkII-v2.0.1  ( 19 MB )

41 MB

Illuminate the Void. Texture the Unknown.

SOL is a stellar textural effects engine created in collaboration with Chris Bryant (S1gns Of L1fe). It fuses a powerful Granular Engine with an expansive CLOUDS reverb to create movement, depth, and spacious tonal color.

Shape shimmering atmospheres with radiant detail, or dissolve them into wide cosmic shadows. SOL does not emulate rooms. It transforms space itself.

FREE. Full Professional Version. No sign up. No restrictions. Created for everyone.

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Sol_1.0_WIN  ( 12 MB )

Sol_1.0_MAC  ( 44 MB )

14 MB

This is gigantic reverberator plug-in VST, AU Windows and MacOS
It’s true algorithmic reverberator to create supermassive structures or small ambiance

algorithm is based on FDN structure

It’s available for MacOS(VST3 and AU with native support Apple Silicon) and Windows(VST3 x64) Linux version is coming

for MacOS users only:

GReverb version 1.0 is ready
I’m happy to announce that a major new update is now available!

What’s New:
Resizable GUI
The interface is now fully resizable, offering improved usability and customization.
Redesigned Modulation Algorithm
Experience smoother and more refined modulation effects with the upgraded algorithm.
Crossover Control
Split the reverberator’s tail into low and high frequencies, allowing independent control over the decay time for bass frequencies.
Enhanced Brightness Controls
Fine-tune brightness with new parameters for gain and Q factor, enabling precise tonal adjustments.
Dynamic Reverberator Time Section
A new feature dynamically calculates reverb decay time (in seconds) based on the Decay and Size parameters, providing greater control and flexibility.

New version 1.1 is ready
Optional Per-Reverberation Low-Cut Filter
A new (disconnectable) Low-cut filter with a 12 dB per octave slope is now available, fixed at 40 Hz before the reverb engine processing.
Logic Pro AU bus Layouts
Added support for Mono to Stereo and Stereo to Stereo bus layouts in Logic Pro.
FL Studio High CPU Utilization
Resolved an issue causing high CPU usage in FL Studio.
Extended Modulation Speed
Modulation speed parameters have been extended for greater flexibility.
UI State Save Issue
Fixed an issue where the plug-in state UI was not saved when reopening plugin.
(Note: The UI state still does not save when reloading the DAW.)
Damping Filter Consistency
Fixed an inconsistency in the damping filter at maximum values, which caused a balance issue in the right channel.
Internal DSP Gain Adjustment
The GReverb wet signal is now slightly louder by default due to adjustments in internal DSP gain.

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GReverb_v1.2_WIN  ( 2 MB )

GReverb_v1.2_MAC  ( 7 MB )

78 MB

BiRR2D and BiRR3D are room simulators that accurately emulate the sound produced by a monophonic and omnidirectionnal source perceived by a listener in a rectangular (2D) or parallelepipedic (3D) room.

User can control (x, y, z) dimensions of the room, and position of source and listener in the room. The orientation of the listener can also be adjusted. Wall properties are adjusted with two or three parameters:

Wall absorbtion : a coefficient between 0 an 1, representing a reflection coefficient. The acoustic wave amplitude is multiplied by this coefficient at each wall rebound. Higher values produce a shorter reverb.

Wall high frequency absobtion : this parameter controls the high frequency absorbtion wall rebounds. Higher values produce darker reverb sound.

Wall diffusion : this parameter controls the wall diffusion properties (parameter only available in the ambisonic version, otherwise fixed to 1e-3, but this is subject to change)

The input is mono or stereo, depending on the chosen version (mono in or stereo in). The output sound is a stereo reverberberated sound with one of the following configurations:

Two cardioid microphones in XY configuration

One cardioid and one eight-pattern microphones, in MS configuration

One omni and one eight-pattern microphone, in MS configuration

Binaural receptor based on the HRTF provided by MIT medialab (https://sound.media.mit.edu/resources/KEMAR.html), and equalized to sound as neutral as possible compared to the dry original sound.

Ambisonic output (for the ambisonic version)

The 2D version simulates a 2D rectangular flat domain. Consequently, the produced binaural sound doesn’t consider height information for sources and listener. The 3D version simmulates a parallelepipedic room, height position of the sources and listener. The latter hence involves more cpu computations for the impulse responses calculations.

Direct path and reflections paths
when a parameter is changed, two stereo impluse responses are calculted and sent to convolution processors:

The direct path impluse response.

The impulse response due to multiple reflections on walls.

The effect level of direct path and reflections can be adjusted separately. These can be sought as dry and wet parameters of the reverb, although the produced sound is physically acurate when both parameters are equal.

Stereo width
In the XY configuration, this parameter specifies the angle between the two cardioid microphones. At its minimum the angle is zero and the produced sound is mono. At its maximum value, the angle equals 180 degrees, the microphones being perpendicular to the head axis. In the standard XY configuration, the angle equals 90 degrees, which occurs when the width parameter equals 0.5.

In the MS configurations the stereo with quantifies the amplitude of the figure eight microphone signal (between 0 and 1).

The stereo width parameter has no effect in the binaural configuration.

There is no such parameter in the ambisonic version

Parameters updating
At each parameter update (except reverb levels and head orientation in the ambisonic version), the impulse response is calculated. As each acoustic path has to be calculated, the computation time can be high, in particular if the damping is small.

A number of threads equal to the number of CPUs – 1 is employed for the impulse response calculation, which allows reasonable computation times (At most a few seconds for largest reverberation times on recent CPUs).

Important note: the fact that some calculation time is necessary after each parameter change prevents parameter automation, as they cannot be updated in real time. Consequently, this plugin cannot be used to move sounds in the virtual space.

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BiRR_AmbiRR.0.2_WIN  ( 28 MB )

BiRR_AmbiRR.0.2_LINUX  ( 51 MB )

19 MB

Sala is a reverb that can turn even the smallest of sounds into a wash of shimmering textures. While it excels at huge ambient spaces with deep and colorful modulation, it can zoom in close for a more focused sound as well.

Leaving the exosphere

Great care has been taken to ensure that Sala can assist any sound in reaching the furthest points of our galaxy with ease. It’s an incredibly unrealistic reverb with a lot of character, distilled into merely five controls from which you can take all kinds of twists and turns.

Splitting beams

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sala_v1_0  ( 19 MB )

14 MB

algorithmic reverb plugin based on CloudSeed

This is an audio plugin for algorithmic reverb. The algorithm is borrowed from CloudSeed VST by Valdemar Erlingsson. I try to rewrite the plugin with JUCE, so it can be also run on Linux and MacOS.

Supported Plugin Format
AU
LV2
VST3
It also works as a standalone application.

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CloudReverb-v0.3  ( 14 MB )

71 MB

NoiseRverb plugin interface based on impulse responses. (31 May 2025)

Collaborative project for the design and development of a convolution reverb plugin that captures the architectural acoustics of seven historic churches in Quito. Presented at AES 2025. Developed in C++ using the JUCE framework, this plugin — called NoiseRverb — uses impulse responses measured on-site to realistically recreate the sonic character of each space.

Its design allows these unique environments to be seamlessly integrated into music productions or immersive experiences. More information about this project can be found at this link.

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NoiseRverb_v1.0_WIN  ( 27 MB )

NoiseRverb_v1.0_MAC  ( 45 MB )

31 MB

Convolution reverb with pre and post modulation

REEV-R is a convolution reverb with modulation capabilities, it is possible thanks to KlangFalter FFT Convolution library, JUCE stock convolution was consuming 20% CPU usage on debug builds while this one takes less than 1%, this was the only library I found that perfectly fits this plugin.

How it works
REEV supports IR manipulation like stretching, reversing, trimming, attack and decay. Because loading IRs is expensive this plugin uses two reverbs, one active and one idle, and loads the modified impulses on the idle reverb on a separate thread. Once the secondary reverb is ready it warms it with one second of buffered audio so that it achieves the same state as the main reverb, finally both reverbs are cross-faded for a smooth transition before swapping the two.

A note on ShaperBox
This plugin, more so than the others, is feature-by-feature almost a re-implementation of ShaperBox – this was not intentional or planned, there are not many references and I didn’t want to miss some very well thought features so I ended replicating most of them. If you like this plugin consider checking ShaperBox Reverb, it’s probably more studio grade, more polished and the price tag is affordable.

Features

Point types
Like GrossBeat, REEV-R includes 8 point types that can be changed by right clicking a point, the default point type can also be changed in the tools-bar.

Paint mode
Paint mode was remade in version 2, it now works with custom patterns that can be edited like the main audio patterns and rescaled before placing on view.

This mode has to be activated by clicking the Paint button, a list of patterns will show above the editor window.

There are 32 patterns that can be used and edited, these patterns are saved in the settings file and shared by any instances of the plugin.

Envelope Followers
Envelope followers for either Send or Reverb can be activated on the Envelope widget by setting the amount positive or negative.

Self repeating patterns
Patterns are not constrained by start and endpoints, they can have only one point or no points, this mainly allows patterns to be seamlessly rotated to create new rhythm variations.

Multi-point selections
Multiple points can be selected and moved around, the selections can also be scaled and skewed by holding Alt + drag the leftmost or rightmost handles, this allows to quickly make rising or falling wedges as well as compress or expand sets of points.

Audio Trigger
Audio transients can be used to trigger the envelope or restart its cycle, its heavily based on ShaperBox and includes two modes of detection: Simple – based on envelope following and Drums – based on total energy during a small time window. This feature is also heavily based on ShaperBox and also allows to use sidechain as input.

MIDI Trigger
MIDI can be used to trigger the envelope or restart its cycle, it can also be used to change patterns (defaults to channel 10).

Pattern sync
Pattern changes can be synced to the playback beat position, this allows for to make timely transitions in real time in sync with the song position.

Sequencer
Clicking the Seq button toggles the sequencer mode where patterns can be built and randomized with ease.

Key Features
High performance Convolution Reverb thanks to KlangFalter library
IR manipulations like stretch, trim, reverse, attack and decay
Pre/send and post/reverb MSEG modulation
12 patterns triggered by midi notes
Paint mode with user defined shapes
Point type – hold, curve, s-curve, stairs ..
Built-in sequencer and randomizer
Envelope followers for send and reverb
Tempo sync or lfo rate (Hz)
Attack and release smooth
Pre and post waveform display
MIDI trigger mode
Audio trigger mode

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reevr-v1.0.2  ( 31 MB )

17 MB

Retro algorithmic reverb plugin in JUCE with multiple algorithms (including emulations of classic hardware) and more to come.

Implements a number of different reverb algorithms, including plate and hall reverbs from Dattorro; Gardner’s 1992 room reverbs; 4 feedback delay network reverbs using the “FDN Toolbox”; and two experimental/special-effect reverbs. More algorithms to come.

Demo:
https://github.com/reillypascal/RSAlgorithmicVerb

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RSAlgorithmicVerb-v0.5.5  ( 17 MB )