nine knobs.
one craft.

predelay — distance before the room answers

Row 1 · Range: 0 – 200 ms · Default: 50 ms

The gap between the dry attack and the first reflection. Short predelays glue the source to the room; long predelays separate the two so the dry transient stays clear in front of a long tail.

Studio-folk default sits at 8–18 ms — long enough for a vocal consonant to land before the room talks back, short enough not to feel unnatural. For drum bus, try 30–60 ms with Sentient decay; the snare hit hits twice.

early — level of first reflections

Row 1 · Range: 0 – 100 % · Default: 50 % · Pairs with: Tail

Controls the level of the geometric early reflections — the first 4 to 12 distinct echoes that define the sense of place. Low values give a denser-feeling tail without spatial cues; high values make the room geometry obvious.

Pulled from the same DiffGFDN scattering matrix that the late field uses, so the early and late always agree about size.

tail — level of the late tail

Row 1 · Range: 0 – 100 % · Default: 50 % · Pairs with: Size

How loud the late reverb sits against the early reflections and the dry signal. Low Tail keeps the room skeletal and open; high Tail makes the space full and anchored.

Tail only sets the late level. It does not touch input drive, bloom or decay, so you can balance the tail without the room changing character underneath you.

size — size of the space and length of the tail

Row 1 · Range: 0 – 100 % · Default: 50 %

Sets the RT60 (the time the tail takes to fall 60 dB). Measured with the other knobs at their defaults it runs from under 1 s at zero to about 7–8 s at full, on a curve that spends more of the knob on the shorter, more detailed settings. The default sits near 4.5 s.

Size also moves the early reflections: small spaces answer within 1 ms of the dry sound, large ones after about 5 ms, so the onset grows with the room.

bloom — late reverb swell

Row 1 · Range: 0 – 100 % · Default: 50 % · Pairs with: Size

How the tail arrives. At zero, it starts at full strength and falls away as a clean exponential. At max, it rises for about a third of a second before it falls — a slow inhale that adds drama to long-held notes. The decay time and the overall level stay where Size and Tail put them.

A swell longer than the room only smears it, so Bloom opens up with Size: below Size 50 it is scaled down, and at Size 0 it does nothing.

texture — smooth or grainy, still or alive

Row 2 · Range: 0 – 100 % · Default: 50 %

Turning it up thins the diffusers: at the low end the tail is dense, smooth and still — good for orchestral material — and toward the top individual echoes start to show through. Every factory preset lives in this range.

The last stretch, above about 88 %, makes it alive: the diffusers thin out further and the tank modulation grows into an audible, chorus-like wobble — useful on synthetic sources. Its speed follows the Mod Rate parameter (host automation).

width — stereo width of the wet image

Row 2 · Range: 0 – 100 % · Default: 60 %

0 collapses the wet field to mono — useful when the source is centred and you want a halo without spread. 100 is the full, fully decorrelated width of the network.

Width is applied at the output, after the network — it doesn't change the dynamics of the early/late mix. Mono compatibility is preserved at any setting (the wet always sums down without phase cancellation).

Width is level-compensated: narrowing or widening the image does not make the reverb louder or quieter.

tone — high-frequency damping in the tail

Row 2 · Range: 0 – 100 % · Default: 40 %

A frequency-dependent decay multiplier — controls how quickly the high end disappears. Low Tone gives a dark tail (cathedral, plate); high Tone gives a bright tail (chamber, drum room).

The damping is applied per delay line in the GFDN, so it scales naturally with Size: longer tails get more damping per second of decay, which keeps the high end from being stuck.

Tone is level-compensated: on music-like (pink) material the wet level stays within a fraction of a dB across the whole range, so you hear the colour change, not a volume change.

mix — dry / wet balance

Row 2 · Range: 0 – 100 % · Default: 33 %

Equal-power crossfade: at 50% the dry and the wet each sit at -3 dB. At 100% the dry is silent — useful when you want to send Arna on an effect bus and let the host handle the dry.

The dry path has a 0-sample latency; the wet path has the host-reported plugin latency, which is zero in Arna (no lookahead). So Mix automation is sample-accurate without comb filtering.