Evolving space reverb
Amanita Ocean is an algorithmic reverb designed as a living space. Its tail breathes, changes colour and makes room for the sound that created it—without turning into an obvious chorus.
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Four currents, one ocean
Every character reshapes the same stable reverb core. Switching characters morphs over 200 ms, so the existing tail is never reset.
The reference space
Default preserves the attack, then opens into a balanced, highly decorrelated field. Extremely slow fractional-delay motion keeps long decays alive without announcing itself as pitch modulation.
Reflections that rise
Later reflections arrive with more weight, creating a reverse-like swell before a second stereo diffusion field dissolves the shape. It is causal, continuous and free from grains or reversed buffers.
Movement inside the tail
Drift moves spectral regions inside the feedback network, rather than chorusing the output. Left and right follow related but independent trajectories while common delay motion stays below 0.10 ms to keep the low end anchored.
Transients become atmosphere
Veil reshapes phase and group delay through an additional lossless AP6 excitation stage. Attacks enter the network as a dense, weightless cloud while sustained tone remains intact—without envelope pumping or granular windows.
Evolution
Evolution is not a generic modulation amount. It knows the selected character and moves the parameters that define its identity—delay distribution, diffusion, spectral span, swell, damping and stereo movement.
Move the control and watch the entire field respond.
Harmony
Harmonic Gravity listens to the dry signal, builds a confidence-weighted pitch-class map and gently excites stable resonant modes after the FDN. It does not retune the existing tail or force the signal into a guessed key.
At 0%, Harmony is an exact bypass. Uncertain or monophonic material stays deliberately subtle; Freeze holds the current map.
Focus
Focus is perceptual masking relief, not conventional full-band ducking. It finds only the wet frequency regions that obscure an active dry signal and opens temporary, cut-only pockets.
Four analysis bands, 40 ms stereo-aware detection and up to approximately 5.5 dB of presence relief. A hard-left sound does not suppress the right tail.
The essential controls
Every control is smoothed inside the DSP. No memory allocation, locking or system calls happen on the audio thread.
Linear dry/wet balance from a completely dry signal to the full Ocean field.
0–100%Broadband RT60, calibrated across the useful Size range rather than a raw feedback gain.
0.2–30 sCompress or expand all decorrelated delay lengths, from a compact resonant room to an impossible volume.
0–200%Places silence before the input diffusion field while leaving the internal reverb structure untouched.
0–250 msShapes low-frequency energy inside the feedback loop so long tails remain deep without becoming heavy.
20–1000 HzControls high-frequency loss on every circulation through the network, not only at the output.
1–20 kHzWet-only Mid/Side control: mono-compatible at the centre, expansive beyond natural stereo.
0–200%Fades the input away, preserves fractional-delay motion and holds the current harmonic map.
Under the surface
Ocean begins with an eight-line Feedback Delay Network. Prime-scaled, decorrelated lengths feed an orthonormal matrix, so density can grow without the loop inventing energy. Character processing changes how the space develops—not whether it remains stable.
Energy is redistributed across all eight delay lines without a privileged path.
Ultra-slow interpolation creates life while runaway feedback, denormals and invalid values are contained.
Low cut and high damping act during every circulation, creating frequency-dependent decay.
Decorrelated excitation and mode-aware motion expand the image without treating both channels as one envelope.
Built to travel
The DSP core is independent from the interface, unit-tested and prepared for the sample rates used in modern production.
VST3 · Audio Unit · CLAP
VST3 · CLAP
VST3 · CLAP