Yeah, it’s pretty wide, but not due to phase-reversal trickery. (I’m using some mid-level Lexicon rackmounts, and Roland / Boss / Alesis half-racks as points of reference). The EQ section plays into that, but I don’t have my head wrapped around the exact algorithm structure. The LOW-LEVEL and HIGH-LEVEL shelving filters aren’t strictly channel-split – like the DualVerb algorithm – even with a wide spread of center frequencies [CONTOUR].
I can hear a discernible ‘panning’ effect of a few dozen milliseconds from right to left; similar to a Haas effect. The MicroPitch effect on the input also animates nicely across channels. While there’s only the single MOD-LEVEL control, it’s actually a decent effect ‘by itself’. But the Reverse Reverb algo is also deep.
It can be used reverse-only, a separate ‘forward’ ‘verb, INF, FREEZE, or any combination of that. LATE DRY can add a slapback, or ‘sucking’ effect. DIFFUSION smears many of those characteristics together. Take that entire reverbation ‘envelope’, and loop that whole process around with FEEDBACK (at the current DECAY time).
With maximum MIX, and minimum DECAY & SIZE, scraping Slow Gear effects are available. I don’t think you need to be concerned about it being mono, or narrow sounding. Quite the opposite, in terms of application, or perceived width. It is set up differently than similar effects that I’ve used, so it’ll take some tweaking to dial in exactly what you’re after. It’s worth the time. That’s a side effect of its versatility.
