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IndexSean IndexAlgorithmTypeOfficial DescriptionNotesUsage TipsAutomation Value for Mode ParamAutomation Percentage Value (Rounded)
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151NonlinAmbience/GatedGated, reverse, and nonlinear reverbs are all on tap here. Use Size to control the duration of the reverb, and Attack to smoothly interpolate between a truncated reverb, a “flat” gated decay, and huge reverse reverbs. Lush chorusing modulation on tap, for your shoegazing needs.A gated/reverse/truncated reverb. Size controls the length, Attack varies the slope (0%: truncated, 50%: gated, 100%: reverse). Based on gated Nonlin stuff in 224XL.0.6250.63
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82AmbienceAmbienceCombines time varying randomized early reflections with a full-featured reverb tail, with the balance between early and late reverb controlled by the Attack knob. Useful for adding “air” to drums, vocals, and any place where a reverb should be felt but not heard.Lexicon 300 Ambience (it was dialed in from my 300M).0.2916670.3
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33PlatePlateInspired by early 1980s plate algorithms. Highly diffuse, bright initial sound, high echo density, lush chorused modulation. Fairly "clean" tone, without converter coloration.Lexicon Plate0.0833330.09
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124Smooth PlatePlateThe 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!Rich Plate variant, with VERY smooth, transparent decay (vs the initially rough decay of the older Lexicon algorithms). This might be my favorite algorithm of all the reverb algorithms in my plugins.

The Lex 200 Rich Plate would probably be closer to Smooth Plate (assuming that the Lex 200 has the same huge size characteristics of the Lexicon 224XL Rich Plate). However, Smooth Plate won't have any of the "gated" artifacts of some of the Lexicon hardware, so the original VintageVerb Plate algorithm might be a better choice.		0.50.5
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115Dirty PlatePlateAll 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.Lex 224XL style Plate. See above.

The original Lex 200 Plate algorithm would be closest to the VintageVerb Dirty Plate.		0.4583330.46
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96SanctuaryPlateInspired 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.EMT-250. Mono input. Sanctuary is the new reverb mode, very loosely inspired by the EMT250. I'd been tinkering with the algorithm since the last beta:
- The early reflections are slightly different. To be precise, the first early reflection from the older beta has been removed, and the reflection gains have been changed. This results in a far more balanced stereo image.
- Converter models. The 1970s and 1980s modes in Sanctuary now have "dynamic bit reduction." This is a way of quantizing the signal to a certain bit depth, while riding the input/output gain levels of the quantization, so that the tail has a natural decay. This was inspired by the gain convertors in the Lexicon 224/224XL, as well as the AMS RMX16 (the unit used to dial in the sound). The 1970s mode has more quantization/noise than the 1980s mode, while the NOW mode is clean.
- Improved fixed lowpass filters in the 1970s and 1980s modes. The new filters have a steeper cutoff, and a bit of wiggle in the passband, to better emulate the elliptic filters used in older hardware.
- The early reflections are fixed for all Size settings, while the late reverb changes according to Size. This allows users to have that EMT-esque initial sound (with Attack set to 0%), while using Size to control the "tightness" of the late reverb decay.		0.3750.38
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57ChamberChamberA transparent and dense algorithm. Highly diffuse, high echo density, less coloration than Plate/Room algorithms, chorused modulation. Fairly "clean" tone, without converter coloration.Rich chamber0.1666670.17
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168Chaotic ChamberChamberSmooth and chaotic at the same time. A relatively “dimensionless” reverb algorithm, that adds depth to your sound. Wow and flutter modulation, subtle tape saturation. Use this algorithm on pretty much any input, and it will sound good.The new Chaotic Chamber algorithm in the 1.7.1 VintageVerb release would be a LOT of fun for ambient synths. With longer decays, you will hear some tape-type modulation noise. Turn up the Mod Rate and Mod Depth to get the right amount of warble. The noise in the Chaotic algorithms will be more BoC, less Autechre.0.6666670.67
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49RoomRoomEmulates the sound of early 1980s room algorithms. Medium diffusion/early echo density, somewhat darker sound, chorused modulation. Fairly "clean" tone, without converter coloration.Lexicon plate0.1250.13
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1310Smooth RoomRoomA 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.Room/Rich Chamber variant, with VERY smooth decay (vs the initially rough decay of the older Lexicon algorithms).0.5416670.55
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1411Smooth RandomHallA random room/hall algorithm, with transparent decays that can be adjusted from tiny to huge. Randomized delay modulation, similar to Random Space, but with a much tighter initial attack and smoother decay. A good “jack of all trades” reverb algorithm.Random Hall variant, with VERY smooth decay (vs the initially rough decay of the older Lexicon algorithms). Much quicker attack than the VintageVerb Random Space algorithm, with more initial "presence" to the sound.0.5833330.59
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112Concert HallHallBased 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.Lexicon Concert Hall.

For the original 480L Hall presets, turn the Early Diffusion down.

Lexicon Diffusion = VVV Early Diffusion. The VVV Late Diffusion corresponds to what was called "Definition" in some older Lexicons, although the Definition control worked backwards (i.e. higher Definition values = lower Late Diffusion).		0.0416670.05
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213Bright HallHallSimilar to the Concert Hall algorithm, but with a brighter initial sound, and deeper and lusher modulation. Fairly "clean" tone, without converter coloration.Lexicon 224-ish Bright hall0.3333330.34
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1014Dirty HallHallA 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.Lex 224XL style Concert Hall. Dialed in by A/B'ing a Lexicon 224XL in a nice studio. Nonlinear, noise, and quantization artifacts of original 224XL emulated. 70s mode has 8 kHz cutoff of 224, 80s mode the 15 kHz cutoff of 224XL, NOW mode has no bandlimiting.I would use Size at 100%, mod rate around 2.0 to 2.5 Hz, and back down on the Early and Late Diffusion to get more spaciousness in the sound.0.4166670.42
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1715Chaotic HallHallA 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.I would use Size at 100%, mod rate around 2.0 to 2.5 Hz, and back down on the Early and Late Diffusion to get more spaciousness in the sound.0.7083330.71
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616Random SpaceHallThis 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.Random Space and Chorus Space are the same algorithm, just with different modulation. The modulation differences result in a pretty fundamental difference in the algorithms, but beyond that the algorithms have the same filters / delay lengths / Attack settings / input diffusion / etc. I tend to prefer Chorus Space, but if I was working with pitched instruments, or female vocals, I would probably use Random Space.0.2083330.21
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717Chorus SpaceHallDEEP 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.Random Space and Chorus Space are the same algorithm, just with different modulation. The modulation differences result in a pretty fundamental difference in the algorithms, but beyond that the algorithms have the same filters / delay lengths / Attack settings / input diffusion / etc. I tend to prefer Chorus Space, but if I was working with pitched instruments, or female vocals, I would probably use Random Space.0.250.25
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1818Chaotic NeutralHall?Combines chaotic modulation with a fairly “colorless” algorithm architecture, for a reverb that sounds like the input – just with reverb!https://valhalladsp.com/2019/08/14/valhallavintageverb-2-0-2-chaotic-neutral/0.750.75
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1919CathedralHallAn 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.0.7916670.8
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2020PalaceRoom/Hall?Inspired by a classic “room simulator” algorithm from the 1980s, with the option of higher echo density and lush modulation. A spacious and “open sounding” room reverb, useful for small drum rooms, halls, cathedrals, and anything in between.The Early Diffusion parameter in Palace controls both the level and density of the early reflections in the reverb decay. An Early Diff value of 40% corresponds to the early 80s hardware, while higher values map to the higher echo density of the late 80s revisions.
Late Diffusion allows the Palace algorithm to achieve both higher echo densities than the 80s hardware, as well as reducing the perceived pre-delay. Set Late Diffusion to 0% to obtain that authentic “reflection off the back of the concert hall” sound from the 1980s hardware. Higher Late Diffusion values will smooth things out. I like to keep this at 50% or lower for the smoothest sound with the least coloration.
Attack allows for control over the volume of the early reflections (in combination with the Early Diffusion parameter). In general, keeping Attack at 0% is recommended for emulating the 1980s room simulator. Higher values of Attack will reduce the early reflections volume, which may be useful when Early Diffusion is set to higher values.
The 1980s room simulator hardware didn’t have modulated delays. But Palace does! It turns out that modulating the delays in these types of algorithms results in a lush decay that is perfect for vocals, synths, and all sorts of beautiful ambient sounds! Turn up the Mod Depth to get a balanced chorused modulation. Or, leave Mod Depth at 0% for a realistic large hall / cathedral sound where the echoes tumble after each other and bounce all around the space.
The Size control in Palace is critical for dialing in the ideal space. Smaller Size values can get VERY small, perfect for tight drum rooms. Larger sizes are better for more open vocal reverbs. The largest Size values are perfect for halls and cathedrals.
The COLOR control is perfect for dialing in the era of the original hardware. Setting COLOR to 70s results in an 8 kHz bandwidth, 80s to 15 kHz, and NOW to full bandwidth. The overall tonality is much brighter than most of the other VintageVerb algorithms at the same color settings, in order to match the 80s hardware, which didn't have interpolated delay lines and therefore didn't have the high frequency loss associated with linear interpolation.		A few notes from listening to the Quantum QRS:

- If you want to dial in QRS sounds with the Palace mode in VintageVerb, set Attack to 100%, Early Diffusion to 50%, and Late Diffusion to 0%. This is probably the closest match to the original QRS algorithm as far as density and echo patterns.

- The frequency profile of the Palace mode isn't identical to the Quantum plugin, in either the 70s or 80s modes. My guess is that the original QRS hardware was using some analog processing tricks to enhance the perceived bandwidth, so that it sounded brighter than a "textbook" implementation of a 20 kHz sampling rate. Lexicon did something similar with the 224 and 224XL, where they used pre-emphasis, de-emphasis, and some weird boosting filter near the cutoff of the antialiasing filter called an "aperture filter." This is the sort of thing that I would need either a service manual or original QRS to figure out. So, if you really want that precise frequency balance, put VVV in Palace mode on a send, put an EQ after it, and use a 1st order shelving boost somewhere between 8 kHz and 10 kHz, with the frequency centered on wherever the "knee" is in the QRS antialiasing filters.

- The decay times are different between the Quantum plugin and the Palace mode. This is really common with older reverbs (assuming that the Quantum plugin is accurately modeling the hardware, which is a safe assumption). The Decay or RT60 settings were often just a suggestion in older hardware, versus anything scientifically accurate. Tuning the decay time by ear in VVV is a good idea. I've also used the VU meters in Ableton to match the decay behavior on parallel sends between reverbs. I've been doing this with my own plugins lately, as ValhallaRoom has a very scientificological decay setting which serves as a good point of calibration.

Note again that the Attack setting is at 100%, the Early Diffusion is at 50%, and the Late Diffusion is at 0%. I recommend sticking with these settings for any QRS-ish sounds. Change the Size around, RT60, all that fun stuff, but keep the above settings as is.

One big difference between the original QRS and the Palace algorithm is that Palace has modulation. I was just looking at how I implemented this. It looks like the modulation happens at the outputs, and there are 16 randomly modulated delay taps, working in pairs. In other words, when the first tap goes in one direction, the second goes in the other direction, and so on down the line. This produces a lush modulation that is somewhat "detuned" in that the overall pitch change is largely cancelled out, versus the "seasick" modulation that could be heard in some vintage reverbs.
0.8333330.84
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2121Chamber1979ChamberOur take on the 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.In order to fix the issues with the Chamber algorithm, I decided to draw upon some modern reverb theory. The seasick modulation issue was something I had fixed in ValhallaRoom back in 2011, so I applied similar techniques to the Chamber algorithm. The results were much lusher, with less random pitch shifts than the original. Fixing the decay time issues and metallic sound required a bit more science. I ended up going to publications by Jean-Marc Jot (including his early 90s PhD thesis), and applying some of his reverb decay techniques to the Chamber algorithm. I had never tried these techniques with nested allpass reverb algorithms, and I don’t know if anyone else has tried them, but they WORKED. The Chamber algorithm was now able to get short decay times, and sounded much less metallic. I decided to call my version Chamber1979, as a proper “retro futurism” homage to that era.

I also revisited the schematics of the 70s hardware, and saw a strange analog circuit I had overlooked in the past – a fixed filter labeled the “aperture filter.” This filter was apparently used to make up for some of the darkness added by the sampling process. A few hours of RC equations in Excel and some late night coding, and I had the aperture filter working! This ends up adding some unexpected brightness to the reverb sound, even at low sampling rates. Chamber1979 uses this aperture filter in the 70s and 80s colors, with the appropriate cutoff for each era, and helps create a more “hardware” sound.
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2222Hall1984HallA new approach to the classic Concert Hall algorithm, with modifications for a smoother decay, less matallic 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.After seeing how well these newer techniques worked with the Chamber algorithm, I decided to try them with the venerable Concert Hall algorithm. The results made me really happy. The new Concert Hall algorithm retained the open sound and spaciousness of the older algorithm, but with a less metallic sound, and far greater control over the reverb time. The new hall algorithm worked well for short room sounds, as well as big halls, cathedrals, and giant synth reverbs. I changed the modulation to be more distributed within the network, while retaining the coloration of the original algorithm. I also added the aperture filter in the 70s and 80s modes. I’m really happy with the results – things sound closer to the original hardware, but with some improvements to the lower decay times.

The new reverb mode is called Hall1984, to pay tribute to my favorite reverb hardware from the early 1980s. Don’t let the “1984” in the name fool you – Hall1984 is perfect for dark 70s digital halls, brighter 80s halls, and crystal clear modern reverbs.
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