Echo Chamber is a stereo reverb and delay plug-in
effect, used to create psychoacoustic models to simulate
sounds reflecting from surfaces in a room or space.
Optionally a delay can be added to yield a spacious and open
sound of a repeating, decaying echo to complete a sense of
space and depth to a 'dry' input signal.
A highly tweakable, versatile, and inspiring solution for
ambience effects, that produces a natural sounding room
reverberation and delay effect giving a true room
perception, from small rooms to large caverns as well as
generates a
doubling echo, slapback echo, ping-pong delay and analog
tape delay. Offers multiple controls for modifying one or
both channels to produce a rich array of time-based effects.
Available as an effect plugin in VST and VST3 64 bit versions for
Windows as well as in Audio Unit for
macOS.
These plug-ins are perfectly suited for any type of
audio production when acoustic space simulation is
needed from recording to post production in 64 bit
platforms. Small rooms have a high percentage of early
reflections (the first feedback from the closest
objects) that can give more body to tracks. It is also
good with acoustic guitars and voices. Larger rooms
presets are better with strings, or wind instruments and
synthesizer pads.
Features:
Reverb and
delay algorithms that delivers a rich reverberation and
echoes by providing a spaciousness and depth to simulate
the sound reflections from walls, floors and ceilings in
an acoustically reflective environment.
Flexibility
to control Left and Right channels separately in Reverb
and Delay units as well as in 'dry' signal output.
Reverb unit
works as a 'stereo enhancer' and 'mono-to-stereo creator',
to produce a wide stereo image or stereoize a mono sound
source. In Delay unit,
improves the stereo image by
adding a slight delay to
one of the channels.
Delay Time
manual or synced to host (Tempo Sync BPM).
30
predefined space types, giving a virtually
infinite number of possible shapes and sizes. These
presets consist of some parameters to determine apparent
room size, reverberation time, distance from you to the
performer, etc.. Includes: 10 reverb presets, 10 delay presets and
reverb and delay combination,
to complement each other.
Preset Effects
List:
#
Type
Preset
DRY (Unprocessed)
Input Source
WET
(Processed)
1
DELAY
Analog Tape Delay
Unprocessed (Dry)
Female Vocals
Processed (Wet)
2
DELAY
Bucket Brigade Delay
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
3
DELAY
Crypt Echoes
Unprocessed (Dry)
Spectral
Ambience
Processed (Wet)
4
DELAY
Doubling Echo
Unprocessed (Dry)
Female Vocals
Processed (Wet)
5
DELAY
Infinite Delay Machine
Unprocessed (Dry)
Female Vocals
Processed (Wet)
6
DELAY
Ping-Pong Delay
Unprocessed (Dry)
Female Vocals
Processed (Wet)
7
DELAY
Slapback Echo
Unprocessed (Dry)
Female Vocals
Processed (Wet)
8
DELAY
Sync Tube Tape Delay
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
9
DELAY
Tempo-Sync Delay
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
10
DELAY
Tube Driven Tape Echo
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
11
REVERB
Amphitheater Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
12
REVERB
Auditorium Reverb
Unprocessed (Dry)
Percussion
Drums
Processed (Wet)
13
REVERB
Cathedral Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
14
REVERB
Chamber Reverb
Unprocessed (Dry)
Sax/ Flugelhorn
Processed (Wet)
15
REVERB
Hall Reverb
Unprocessed (Dry)
Tenor Sax
Processed (Wet)
16
REVERB
Opera Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
17
REVERB
Plate Reverb
Unprocessed (Dry)
Acoustic Guitar
Processed (Wet)
18
REVERB
Room Reverb
Unprocessed (Dry)
Acoustic Guitar
Processed (Wet)
19
REVERB
Spring Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
20
REVERB
Theater Reverb
Unprocessed (Dry)
Mandolin
Processed (Wet)
21
REV+DEL
Ambience Reverb
Unprocessed (Dry)
Percussion
Drums
Processed (Wet)
22
REV+DEL
Arena Reverb
Unprocessed (Dry)
Synth Strings
Processed (Wet)
23
REV+DEL
Canyon Acoustics
Unprocessed (Dry)
Tribal Vocals
Processed (Wet)
24
REV+DEL
Catacomb Reverb
Unprocessed (Dry)
Scary Ambient
Sound
Processed (Wet)
25
REV+DEL
Cave Reverb
Unprocessed (Dry)
Ambient Sound
Processed (Wet)
26
REV+DEL
Church Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
27
REV+DEL
Cosmos Echo Panning
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
28
REV+DEL
Spatial Reverb
Unprocessed (Dry)
Flute
Processed (Wet)
29
REV+DEL
Stadium Reverb
Unprocessed (Dry)
Female Vocals
Processed (Wet)
30
REV+DEL
Sync Bounced Delay
Unprocessed (Dry)
Electric Guitar
Processed (Wet)
Note: In
each predefined reverb or delay these parameters are
preset with values precisely calculated by Syntheway to
create the sound field unique for the program. Each
preset has a set of parameters that allow you to change
the characteristics of the acoustic environment to
precisely create the effect you want and contribute to
your personal sound field, allowing you to essentially
'redesign' the spaces and echoes, provided to create
custom-tailored listening environments that ideally
match your mood and music.
Parameters:
Ψ
DRY Signal Output (Left and Right):
It
independently controls the left and right channels 'dry'
(unaffected) signals. Turn the knob clockwise to
increase the dry signal or counterclockwise to decrease
it. Default:0. Input signal is fully processed according
to the reverb / delay stereo shaping wet assignments.
ΨPreset
Manager: 'Browser' to load and save presets and banks, enabling
to export to *.fxp (VST2 Preset), *.fxb (VST2 Bank),
*.vstpreset (VST3 Preset), *.aupreset (Audio Unit
Preset) plus two generic formats (plain text): the
*.xmlpreset (XML Preset) and the *.xmlbank (XML Bank),
providing cross-platform presets/banks. This allows to
control over the loading and saving of presets from disk as well as
sharing presets between different plugin formats using the generic
*.xmlpreset (XML Preset) and the *.xmlbank (XML Bank).
REVERB
UNIT:
ΨWET
Reverb Stereo Shaping (Left and Right):
It
independently controls the left and right channels wet
signals. Turn the knob clockwise to increase the wet
signal or counterclockwise to decrease it.
SPACE
Controls: Consist of size, width and depth knobs.
These parameters determine the nature of the space and
its properties such as its abstract geometry and
determine its complexity.
Size: This knob varies the apparent size of
the simulated acoustic space by controlling the
density of the early reflections as well as the
slope of the buildup.
Turn the
knob clockwise to increase the size or
counterclockwise to decrease the size.
Width: This knob adjusts the stereo separation of
the wet reverb signal.
Turn the
knob clockwise
to widen the stereo image
or counterclockwise to reduce the stereo effect.
Depth: Adjusts the depth of the environment by
controlling the apparent distance from the listener
to the input source. It Ranges 0 (near) to 10
(deepest).
Turn the
knob clockwise to increase the depth or
counterclockwise to decrease the depth.
COLOR
Control: Turning the control up, provides additional
high-end presence in the effect.
TONE
Control: Changes the tone of the reverb by taking
over high frequencies.
At times subtle, these changes can alter the timbre
or quality of auditory sensations produced by the
tone of a sound of reverb, from dark to bright and
everywhere in between.
Bright: A shimmering tone. Overbearing
high frequencies. Treble emphasis (Fully clockwise rotation). Warm: Well balanced, flat,
neutral. Pleasantly spacious, with adequate
reverberation (Tuning around the center position
of the knob).
Dark: A tonal balance that tilts to tones
of low (deep) frequency. Weak high frequencies (Fully counterclockwise rotation).
PRESENCE
Combo Box: Makes subtle changes to the
reverb character:
Stage 1: Tone reverb is slightly attenuated. Provides a
warmness tone.
Stage 2: Tone reverb is slightly amplified. Something
brighter in character.
DELAY UNIT
ΨWET
Delay Stereo Shaping (Left and Right):
It
independently controls the left and right channels wet
signals. Turn the knob clockwise to increase the wet
signal or counterclockwise to decrease it.
FEEDBACK (Left and Right Channels):
Regeneration of delay. By increasing the amount of
signal sent back through (or fed back, or regenerated)
the number of repeats is increased Individually for left
and right channels. Turn the knob clockwise to increase
the rate or counterclockwise to decrease the
regeneration. Also feedback can be entered by typing in
the desired amount in the text box of each left or right
channel.
TIME (Left and Right Channels):
Controls the delay time. The value can either be in
milliseconds or in bar divisions if the Tempo Sync (BPM)
is switched ON.
Manual Time (Left and Right Channels): This
knob sets the delay time manually. Controls the
speed of the effect when not synchronized to host
tempo. Improves the stereo image by adding a slight
delay to one of the channels. Time
can be
entered by typing in the desired amount in the text
box of each left or right channel in milliseconds.
Tempo Sync (BPM) ON/OFF:
- OFF (Default) makes no synchronisation. Time is set
by the user by 'Manual Time' knob.
- ON allows to sync the delay tempo to the host.
Controls the speed of the synchronized effect to the
project tempo, including tempo changes. Also is
mapped to control the delay subdivisions for some
tempo synced delay changes. Switch options have
programmed subdivision, it goes from 1/1 to 1/16
triplet.
Bar Divisions (Combo Box. Left and right channels):
Used with Sync Time (BPM)=ON makes the Delay time
sync to the host BPM and allows specifying delay
times in musical note durations. Independently
control the left and right channel signals. Default
1/1 in both L/R channels.
T = Triplet: Delay time equal to 2/3 of the duration
of the selected vote value. D = Dotted: Delay time equal to 3/2 of the
duration of the selected note value.
COLOR
Control: Turning the control up, provides additional
high-end presence in the delay effect.
TONE
Control: Changes the tone of the delay by taking
over high frequencies.
At times subtle, these changes can alter the timbre
or quality of auditory sensations produced by the
tone of a sound of reverb, from dark to bright and
everywhere in between.
Bright: A shimmering tone. Overbearing
high frequencies. Treble emphasis (Fully clockwise rotation). Warm: Well balanced, flat,
neutral. Pleasantly spacious, with adequate
reverberation (Tuning around the center position
of the knob).
Dark: A tonal balance that tilts to tones
of low (deep) frequency. Weak high frequencies (Fully counterclockwise rotation).
PRESENCE
Combo Box: Makes subtle changes to the
delay character:
Stage 1: Tone delay is slightly attenuated. Provides a
warmness tone.
Stage 2: Tone delay is slightly amplified. Something
brighter in character.
* Note: Setting
different delay time in left and right channels allow to
create the 'Precedence effect', a binaural psychoacoustic
effect, when a sound is followed by another sound separated
by a sufficiently short time delay (below the listener's
echo threshold). The Haas effect, also a psychoacoustic
effect (by Helmut Haas) is often equated with the underlying
precedence effect. The precedence effect appears if the
subsequent wave fronts arrive between 10 ms and about 50 ms
later than the first wave front. For speech the precedence
effect disappears for delays above 50 ms, but for music the
precedence effect can also appear for delays of some 100 ms.
It causes a listener to perceive a space and direction of a
sound when there is a slight delay between stereo channels.
Reverb and Delay Presets
Description
DELAY:
01. Analog/Tape
Delay: Is inspired by classic analog delays using
reel-to-reel tape loops, earliest delay types in the
budding Rock and Roll era of the 1950s.
02. Bucket Brigade Delay (BBD, Bucket Brigade Device) is
a discrete-time analogue delay line, developed in 1969 by F.
Sangster and K. Teer of the Philips Research Labs. The
stored analogue signal is moved along the line of
capacitors, one step at each clock cycle. The name comes
from analogy with the term bucket brigade, used for a line
of people passing buckets of water. In most signal
processing applications, bucket brigades have been replaced
by devices that use digital signal processing, manipulating
samples in digital form. Bucket brigades still see use in
specialty applications, such as guitar effects.
03. Crypt Echoes:
This delay effect simulates the acoustics of a large
enclosure such as a a stone chamber containing coffins,
sarcophagus, or relics.
04. Doubling Echo:
Is produced by adding short-range delay to a recorded
sound. Delays of 30 to 50 milliseconds are the most
common; longer delay times become slapback echo. Mixing
the original and delayed sounds creates an effect
similar to double tracking and can help greatly thicken
up a vocal recording. Its also often used for recording
guitar with a stereo effect.
5. Infinite Delay
Machine:
This is an aggressive delay effect to hold repeatedly.
06. Ping-Pong Delay:
This type of delay 'pings' audio back and forth between
the left and right channels, creating a wide stereo
rhythmic effect. Useful to create syncopated rhythm
lines that bounce from left to right.
07. Slapback Echo:
Uses a longer delay time (75 to 250 milliseconds), with
little or no feedback, often used on electric guitar,
but can also be applied to drums or vocals. Most often
heard in rockabilly and country.
8. Sync Tube Tape Delay:
Inspired on the legendary, tube, tape echo "Echoplex", a
tape delay effect, first made in 1959 and designed by
Mike Battle. Parameters setted: 'Sync Time' = ON, with
Bar Division (L) = 1/1 and Bar Division (R) = 1/2.
9.
Tempo-Sync
Delay: A Delay Tempo-Sync with Bar
Division (L) = 1/4 and Bar Division (R) = 1/4D.
10.Tube Driven Tape Echo: A delay to replicate
properties of the great 60s tape delays.
REVERB:
11. Amphitheater
Reverb:
It focuses to recreate the reverberation of those
open-air venues used for entertainment, performances,
and sports.
12. Auditorium
Reverb:
An approach to those acoustic rooms built to enable an
audience to hear and watch performances.
13. Cathedral Reverb:
A highly diffuse and large reverberation with a sections
of walls, piers and columns.
14. Chamber Reverb:
Ambient natural sound of a small chamber. A smaller
physical space than a hall that results in more clarity
yet still provides a blend of harmonic content and
dispersion of sound.
15. Hall Reverb:
Bright classical concert hall with strong room
impression. This is a dense hall reverb In this program,
the center will appear to be deep behind the main
speakers, creating an expansive large hall
ambience. Orchestra and opera music are suited for this
sound field.
16. Opera Reverb:
Typical sound of a classical bright opera house.
17. Plate Reverb:
Straight and bright reverberation plate sound. Reverb
emulation that utilizes transducers that send and
receive a signal through a sheet of metal.
18. Room Reverb:
This reverb effect simulates the acoustics of a small
room with a low ceiling and a quick decay. The sound is
very close and intimate.
19. Spring Reverb:
Natural, metallic spring reverb. Similar in design to
the plate, however, it uses a metal spring instead of a
sheet.
20. Theater Reverb:
Natural sounding audience hall of a theater.
REVERB / DELAY Combination:
21. Ambience Reverb:
Large enclosure ambience sound. This effect adds a
perfect match for pure synthetic sounds.
22. Arena Reverb:
This reverb effect simulates the acoustics of a large
enclosure such as a sports arena.
23. Canyon
Acoustics:
This reverb focuses to emulates a gorge, deep cleft
between escarpments or cliffs.
24. Catacomb Reverb:
It focuses to emulate the acoustic of those subterranean
passageways used as a burial place.
25. Cave Reverb:
Stereo Echo Delay and Reverb. This effect simulates the
reverberations of a cave.
26. Church Reverb:
Smooth and clear big church reverb with a bit of delay. This program
recreates the acoustic environment of a big church with
a high pointed dome and columns along the sides. This
interior produces very long reverberation and echoes.
27. Cosmos Echo
Panning:
A psychedelic reverberation with modulation delay.
28. Spatial Reverb:
It drives to a large and ethereal space with a big
delay.
29. Stadium Reverb:
It simulates a very large reverberant space with some
delay.
30. Sync Bounced
Delay:
A Delay Tempo-Sync with Bar Division (L) = 1/1 and Bar
Division (R) = 1/2, bouncing in a reverberant space.
Before you install VST, VST3 or Audio
Units plugins, please make sure your computer fulfills the
following requirements.
Please test
extensively the demo version of this
product in your host to make sure there are no misbehaviors before
purchasing.
Operating System: Windows Windows 7, Windows 8, Windows 8.1, Windows 10 and Windows 11
(64-bit platforms).
VST or VST3 compatible host application 64 bit:
These VST/VST3 software can be "plugged in" to any host application that
supports VST or VST3 Technology like: Image-Line FL Studio, Steinberg
Cubase Pro, Artist and Elements,
Steinberg Nuendo,
Cakewalk by BandLab, Cockos REAPER, PreSonus Studio One, Acoustica Mixcraft,
Ableton Live,
MakeMusic Finale, Avid Sibelius, Magix ACID Music Studio, Magix Samplitude
Music Studio and Pro X, Cantabile, n-Track Studio, DarkWave Studio, Bitwig,
Gig Performer,
VSTHost,
SAVIHost among others.
Operating System: macOS Sierra, macOS High Sierra,
macOS Mojave, macOS Catalina, macOS Big Sur, macOS Monterey, macOS Ventura, macOS Sonoma.
Intel CPU processors only. Apple Silicon
M1, M2 or M3 chip
support under
Rosetta 2 mode only. In all cases,
always we encourage you to test the free demo
version of the software.
Audio Unit compatible host
application. They can be "plugged in" to process audio by applications
such as Logic Pro, GarageBand, Ableton Live, REAPER, Studio One
Professional, Ardour,
Gig Performer, MainStage and Digital Performer among others.
Limitations of
the Unregistered/Demo Version:
Same
sound effects quality than the full version. It generates a short beep in
all output channels every 10 seconds. Be aware that certain features
may not be available.
The full version is available to purchase, as downloadable software, the
price is
