stargazingAOFN

Cascading parallel delay networks

Dense early reflections built from cascading parallel delay networks, releasing into a slow-drifting tail driven by a gentle internal vibrato. The algorithm runs in double precision. At smaller Size and Decay values a subtle lo-fi texture appears - not a fault of the processing, but a characteristic of the network at those proportions.

Long, warm decays

Decays pile up without getting harsh. Size scales every internal delay line simultaneously - the space grows or shrinks as a unit rather than distorting its proportions. Modulation drives a chorus on the wet path after the reverb, adding movement that deepens the space rather than decorating it.

Diffuse and wide - modulation inside the network

Wide and spacious without losing definition. Modulation runs inside the network rather than applied after the reverb - pitch variation stays tied to the tail itself, making the movement feel organic rather than added.

Sits well under vocals and strings without smearing attack transients.

Infinite sustain at maximum Decay

At maximum Decay the tail does not fade - it sustains indefinitely. Brightness rolls off sharply, pulling everything toward dark resonance. The result is more atmospheric than spatial.

Not a room simulation. A consequence.

Tail length

Sets how long the reverb tail sustains before fading. Interacts with Size - a larger room at the same Decay will sound different from a smaller one. In Void at maximum, the tail does not decay at all.

High-frequency content in the tail

Controls how much high-frequency energy survives in the reverb tail over time. Lower values produce darker, denser tails. Higher values keep the air and presence alive longer. In Void, Brightness rolls off quickly regardless of this setting at higher Decay values.

Mode-specific modulation depth

The function of Modulation depends on the active mode.

• Deep Space Depth of the internal vibrato on the tail
• Nebula Chorus depth on the post-reverb wet path
• Aurora Amplitude of the LFO running inside the feedback network
• Void Minimal effect - the mode's character comes from Decay and Brightness

Up to 2000 ms before the reverb input

Delays the signal before it enters the reverb. Useful for separating the dry transient from the reverb onset - a short pre-delay of 10–30 ms keeps the attack of a sound clean while the tail follows. Longer values create an audible gap. Can be synced to DAW tempo.

Room scale

Multiplies all internal delay lines simultaneously. The space grows or shrinks as a unit. Smaller values bring the walls in; larger values push them out. At small values in Deep Space a lo-fi texture becomes audible - an artifact of the network proportions rather than the Size control itself.

Equal-power crossfade

Blends the dry signal with the processed wet signal. Uses an equal-power curve so the perceived level stays consistent across the range. At 100% wet no dry signal passes through.

Filters on the wet path only

Both filters apply to the wet signal only - the dry path is not affected.

• Low Cut High-pass on the wet path. 20 Hz to 2 kHz. Prevents low-end energy from building up in the tail
• High Cut Low-pass on the wet path. 1 kHz to 20 kHz. Roll off the tail without touching the dry signal

Trim after all processing

A level trim placed after the entire signal chain including all auxiliary processing. Range is −36 dB to +12 dB.

Two independent parameter slots

The A/B buttons in the control panel store two independent sets of parameter values. Click A or B to switch between them. The arrow button copies the active slot to the inactive one - useful for building a variation from a known starting point.

A and B are saved with the plugin state and persist across sessions.

Bit-crush and sample-rate reduction pre-reverb

Crush runs before the reverb input. The signal is degraded first - bit depth and sample rate are reduced - and that degraded signal then feeds the reverb. The lo-fi character gets processed and diffused rather than sitting on top of a clean reverb.

At zero the path is clean. At maximum you get six bits and heavy sample-hold artifacts. Values in between produce graduated grit.

Modulated noise injected into the reverb tail

Noise feeds a modulated noise signal directly into the reverb, adding texture from within the tail rather than layered over it. Two modes:

• Input-tracked Noise level follows the incoming audio - rises with signal, fades with it
• Self-oscillating Runs independently of the input for continuous ambient texture

The extended view adds tone and modulation rate controls. Open it via the Noise panel button.

Mid-side saturation post-reverb

Clouds applies saturation independently to the mid and side channels of the wet signal after the reverb. At low values the effect is subtle - a slight warmth and narrowing or widening of the tail depending on the source material. Higher values produce more obvious harmonic density.

LFO on the wet path - based on the Grizzleizer

An LFO modulator applied to the wet signal, built on the same Grizzleizer circuit as the free plugin Grizzly. Two modes:

• VCA LFO controls the amplitude of the wet signal - tremolo, gating, rhythmic pumping
• VCF LFO sweeps a lowpass filter across the wet signal - autowah, dub-wise cutoff pulses

Three waveforms: triangle, square, saw. Tempo-syncable. The extended view adds rate, shape, depth, and offset controls. Open it via the Pulse panel button.

Gain reduction on the wet signal keyed to the dry input

Duck reduces the level of the wet reverb signal in response to the dry input. When signal is present the tail pulls back; when the signal fades the tail returns. The result is that transients stay clear without shortening the reverb itself.

Useful on drums, plucked instruments, and any source where the reverb tail tends to obscure the next hit. The extended view adds threshold, ratio, attack, and release controls.

Organised by mode

The factory library is organised by mode. Each preset targets a specific use - room, tail, texture, atmosphere - rather than trying to cover all possibilities at once. Presets are browsable from the preset panel in the plugin or via your host's preset browser.

User presets save to a separate folder and appear alongside the factory library. The A/B slots are not saved per preset - they persist independently with the plugin state.

• macOS 10.13 High Sierra or later · Apple Silicon + Intel
• Windows 10 / 11 · 64-bit
• Linux 64-bit (experimental)
• Formats AU · VST3 · CLAP
• Hosts Any AU, VST3, or CLAP compatible host
• Trial 14 days · no feature restrictions

• Engineering Marcel Haupt · AOFN Audio
• Contact stargazing@anoldfrenchname.com