Seventh Heaven provides arbitrary reverb decay times from 200 ms up to 30 seconds for every preset – an unprecedented feat particularly for modulated convolution reverbs.

The decay time challenge

A convolution reverb will typically be able to window a decay time with envelopes of varying complexity or by applying pitch/stretch control. However factors such as simulated room size, low frequency response and diffusion/density should be linked to decay time so traditional controls considerably compromise acoustic authenticity.

The solution

Seventh Heaven solves such problems through extensive multi-sampling and intelligent interpolation algorithms. Judicious use of advanced data selection techniques and lossless compression technologies result in a similar disk space requirement to that of the original M7 Fusion-IRs.

The relative balance of the early reflections and late reverberant field are of particular importance in any simulated acoustic space or device. Full control over these can be achieved with Seventh Heaven.

The Bricasti M7 is notable for its special consideration of modulated low frequency reverb behaviour (200 Hz and below) independent of the algorithms governing early reflections and the late reverb. This frequency area is crucial to the accurate reproduction of many spaces, and accurate control of it is of great importance to many producers. The Reverberate 2’s Fusion-IR sets allow control over the early and late reverb components, but Seventh Heaven goes much further in providing more precise access to the level of all three reverb components.

LiquidSonics’ proprietary sampling techniques and Fusion-IR convolution technology ensure accurate reproduction of all three reverb components.

The customisable pre-delay and delay modules in Seventh Heaven respond in a manner true to the original hardware.

Pre-delay

The M7’s pre-delay control does not delay the entire reverb signal, so typical attempts to modify a sampled M7 pre-delay will not produce authentic or usually even desirable results. Modification of the hardware’s pre-delay only affects the very low frequency reverb and the late reverb, the early reflections stay close to the dry signal. For the first time this behaviour is faithfully reproduced providing much more control over any inherent pre-delays in presets or the addition of pre-delay in the very natural style of the original hardware.

Delay

To add acoustic simulation properties or rhythmic vibe to the reverb a very easy to use delay module can optionally be used to re-inject signal into the late and low frequency reverb components. This operates at fixed level 6 dB below the nominal reverb.

Tempo synchronisation

The delay and pre-delay can be set to synchronise to the host’s tempo using half, dotted and regular 1/32 to 1/4 notes.

The use of a low and high pass filter is commonplace in reverb best practice (sometimes referred to as the Abbey Road technique). For such post equalisation requirements a high quality 2-band oversampled paragraphic EQ is provided featuring one low cut and one Massberg high cut filter.