Embedded Files
Updated on 13 July 2026. Built it in Bitwig Studio v4.0. See notes below. Enjoy!
My goal for a good reverb is something that replicates the sound of a ship's bell being rung from 700m away (roughly 2 seconds delay) and being scattered and diffused across waves, moored boats and some various buildings from far, far away. The fog adds an evident high cut to the perceived frequencies where everything above 3 kHz falls away, but there's some noise and hiss coming from small waves lapping on the shore and nearby leaves and pine boughs with breezes and gusts passing through. The photo below sums up the environment that I have in my mental sound stage of a place that time has forgot and only exists in my mind now.
The AS Reverberator 2.0 Bitwig Multiband-FX Device looks like the one below. Low and Mid bands each have their own Tank FX for adding colour, character, shimmer, smoothing and noise. There's a Low Pass filter that lets everything under 12.4 kHz through and, on the Low band there's a Peak Limiter to tame any really hot output signals. The High band has an adjustable filter that is controlled by the Treble Decay macro brightens, or darkens, the Mid/High signal.
Warning: can produce frequencies and volumes which may damage hearing, audio gear and speaker coils. Be kind to your ears and gear.
AS Reverberator v2.0 (Bitwig v4.0+ Multi-Band Device Preset)
Old info. New stuff above.
https://drive.google.com/file/d/1xljAQomdX7vTBNm3sdtiIRsdxKRHPyvi/view?usp=sharing
Here is a wee experiment into creating manipulatable smooth and smeary reverbs. Polarity has made several very good tutorials on how to do this and there are many different ways that these networks can be constructed. This is a vanilla reverb that is an answer to makiing a modular element that I can use in the Bitwig Grid. I've added this into the Seal Eggs Nautical Delay preset and it rounds out the Fog component very nicely. There may be times that you just want to slap some reverb on your track and here is my answer to this. There's Peak Limiter added into the Pre-FX slot so the signal should not get too hot.
At full size and mix the reverb has a tail of nearly 30 seconds to full silence, but has 20 seconds of useable tail time. I based my delay network structure times from Polarity's calculator, but used 6 different lengthed networks in series, and combined these results toghether. My time distrubutions were influenced by the calculator, but I used Primes for all the values (the final maximum of 999 is an obvious exception). The correspond to milliseconds when the reverb size is set to maximum.
Below is a screenshot of the delay times and I have roughly considered each row as expansions on the Polarity calculator. What I have built is something that sounds good to my ears, but is by no means definitave, or possibly even without some fundamental flaws. I just liked how it sounded.
Warning: can produce frequencies and volumes which may damage hearing, audio gear and speaker coils. Be kind to your ears and gear.
Suggested usage:
Start with the preset as shown above.
Experiment!
I'll write more as I work with and improve this preset. Goes great with my Shermanik Filterbank or Seal Eggs presets in the device chain.
Warning: can produce frequencies and volumes which may damage hearing, audio gear and speaker coils. Be kind to your ears and gear.
If you'd like to 'buy me a coffee' for my efforts, you can send it via PayPal to chris@ambientspace.com Thanks!
Please email me at chris@ambientspace.com if you have any questions or find that this is doing something unexpected.
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