Raum

Reverb plus a playable delay stage

RAUM combines three reverb algorithms with a predelay section that can regenerate its own signal. Grounded emphasizes room-like early reflections, Airy moves toward a dispersed hall response, and Cosmic places its algorithm inside the predelay feedback path for more tightly interacting, abstract textures. These are starting characters rather than strict limits on apparent size.

Mixing and sound design

For ordinary spatial placement, separate the dry attack from the reverberation with predelay, then set the space and blend. For creative work, longer predelay with feedback becomes an echo, while very short delays create resonant coloration. Freeze, available in Grounded and Airy, holds the current reverberant content indefinitely and leaves Size available for manipulation. Separate Mix and Reverb controls make it possible to balance the complete effect against the source while also deciding how much of the effect is reverberation rather than predelay.

Source: Manual, “Global Controls and Freeze,” pp. 12–13; “Predelay and Filters,” pp. 14–16; “Reverb Algorithms,” pp. 17–20.

Overall behavior

Select Grounded, Airy or Cosmic with the algorithm selector. Mix balances dry and complete effect signals; Reverb controls reverberation within the effect signal. Mix lock preserves the dry/wet setting while auditioning presets.

Freeze captures and holds the current reverb in Grounded or Airy. Of the reverb-shaping parameters, only Size affects the held sound; other reverb settings can be edited but take effect after release. This is useful for sustained backgrounds or automated transitions, not a feature to expect in Cosmic.

Predelay and filtering

Predelay determines the initial separation before the reverb. Predelay Sync replaces free timing with musical divisions using numerator, denominator and subdivision controls. Feedback recirculates the predelay for repeated echoes; at 100% it can sustain a basic loop. Feedback has no effect at zero predelay. A built-in limiter restrains accumulated levels, but listen carefully as the effect builds.

Low Cut is a low-shelf attenuation control, not a conventional swept high-pass cutoff. High Cut reduces high-frequency content. Both also affect the predelay feedback, so repeated echoes change tone progressively. Short predelay and strong feedback can turn the delay into a pitched resonator.

Grounded and Airy

Size changes the reflection pattern and apparent space; Decay determines tail length. Diffusion softens early reflections, particularly smoothing the onset in Airy. Density selects Sparse, with more separate reflections, or Dense, with a more continuous tail. Damp darkens the reverb as it increases. Modulation moves internal parameters from gentle animation toward detuned textures. Change Size and Decay independently: a large reflection pattern does not always need an excessively long tail.

Cosmic

Cosmic uses Density, Size, Rate and Modulation. Size also shapes decay here; Rate sets motion speed and Modulation its strength. Because the algorithm is inside the predelay feedback route, adjust Predelay and Feedback as part of the sound itself rather than treating them only as onset controls. Low delay times, sparse density and feedback are particularly useful for unusual resonant textures.

Source: Manual, “Global Controls and Freeze,” pp. 12–13; “Predelay and Filters,” pp. 14–16; “Grounded,” pp. 17–18; “Airy,” pp. 18–19; “Cosmic,” pp. 19–20.