Audio Reverb

Audio Reverb sits anywhere in an audio chain: source → filters → Audio Output. Connecting the Audio input splices the node into the shared AVAudioEngine graph — the cables are the engine wiring, one clock drives everything, and the reverb can be spliced in mid-playback without a glitch.

Internally the node hosts Apple's AVAudioUnitReverb. The Preset port selects one of 13 factory space models; each preset defines the character of the simulated space — its size, decay length, early reflections, and tonal color. The preset is loaded only when the index actually changes, so cabling Preset to a control is cheap. Mix blends the dry signal (0) against the fully wet, reverberant signal (1); everything between is a natural front-to-back placement, with typical send-style depths living around 0.15–0.4.

The Audio output re-emits the processed signal as a new engine-backed snapshot, so more filters can follow and an Audio FFT can tap the chain after the reverb — the analyzer then sees the tail as well as the source, and visuals keep breathing while the reverb rings out. The Level output is a peak-decay RMS of the processed signal, which also tracks the decaying tail. Enable = false engages the audio unit's clean bypass: the dry signal keeps flowing, unprocessed.

Outputs: Audio (the processed signal, chainable) and Level (peak-decay RMS, including the reverb tail).

• Instant depth on a track: Audio Player → Audio Reverb (Medium Hall, Mix 0.25) → Audio Output — the two-node "make it sound produced" move.
• Live vocal space: Audio Input (mic) → Audio Compressor → Audio Reverb (Plate, Mix 0.2) → Audio Output — the standard voice chain, running on live input via the engine's realtime source bridge.
• Reverb-aware visuals: Audio Player → Audio Reverb (Cathedral, Mix 0.6) → Audio Output, with an Audio FFT tapped on the reverb's Audio output — visuals decay with the tail instead of cutting off with the source.
• Breakdown wash: cable Mix to a UI slider or LFO in a chain Audio Player → Audio Filter (low-pass) → Audio Reverb → Audio Output; sweep Mix toward 1.0 while closing the filter for the classic build-up drown.
• Dark ambient bed: Audio Player → Audio Reverb (Large Chamber, Mix 0.8) → Audio Filter (Low Pass ≈ 3000) → Audio Output — mostly-wet reverb, then filtered so the wash sits behind everything.
• Preset-hopping performance: cable Preset to an Int control or Counter and step through spaces live — the preset loads only on change, so switching is seamless as a performance gesture.

• Keep Mix modest (0.15–0.35) for realism; a full hall at 0.25 reads as "in a hall", while 0.7+ reads as an effect — both useful, but know which you want.
• Reverb after a delay turns discrete echoes into a smeared space; delay after reverb echoes the whole room. Order is a creative choice, and the engine lets you re-order nodes mid-playback.
• Follow a big reverb with an Audio Filter (High Pass ≈ 150–300 Hz) to stop low-end rumble from washing the mix — bass and reverb tails fight for the same space.
• Plate (11) flatters voices and snares; Chambers (9–10) suit vintage warmth; Cathedral (12) is spectacular on sparse material but drowns dense mixes.
• Enable = false is a clean bypass — but note the tail cuts with the effect; for a natural ring-out, fade Mix to 0 instead of toggling Enable.
• Tap an Audio FFT before the reverb for tight beat detection and after it for atmospheric visuals — every filter has its own analysis tap, so you can do both at once.