Lossy’s reverb was inspired by the 1980’s reverb algorithms developed by Keith Barr and other pioneers of the first digital reverbs. Though it’s not a realistic-sounding reverb and doesn‘t sound like Carnegie Hall or Concertgebouw, it does sound extremely reminiscent of the reverbs used by electronic musicians in the early 1990’s (Aphex Twin, Squarepusher, Boards of Canada, etc).
Despite being pretty much the most “digital” reverb we could make, it has a warmer, almost organic quality.
Sets whether the Verb is applied Pre- or Post- Lossy and Filter processing.
Reverb applied before Loss section
Reverb applied after Loss section
Applying reverb before Loss adds more sound to be Lossified, for a more full and expansive effect
Applying reverb after Loss sounds more like a traditional reverb, adding space to the original Lossy sound
Lossy data compression reminiscent of a low bit-rate digital MP3
Everything stripped away in Standard mode
Simulates inaccuracies in phase and timing due to imperfect clocking
The skips and spaces of a bad connection
Fills the spaces of Packet Loss with repeats of the previous audio
|Standard + Packet Loss||
A combination of Standard and Packet Loss modes
|Standard + Packet Repeat||
A combination of Standard and Packet Repeat modes
Overall gain of the Lossy signal.
Loss Gain includes a level meter embedded in the slider. This meter shows the peak level of the output signal after Lossy’s processing.
If the signal peak exceeds or equals 0.0dB the meter color turns red, indicating that clipping could occur. Lossy will never clip internally, due to its double-precision floating-point processing, but the signal might be clipped at a later stage (by the host/DAW or DAC).