k2k audio The shape of a room, captured in code. From tight plates to infinite shimmer — these nodes wrap your sound in space.
Native Reverb
What it does — A workhorse algorithmic reverb with early reflections, stereo width control, output filters, and a freeze mode that sustains the tail indefinitely.
When you’d reach for it — You need a reliable, tweakable room sound and want fine control over the tone of the tail. Good first choice when you just need “some reverb” and want to shape it precisely with the built-in high and low cut filters.
Quick example
- Connect your source to the Native Reverb input.
- Set Room to around 0.65 for a medium hall feel.
- Bring Damp down to 0.3 to let the highs ring out longer.
- Roll HiCut back to 8000 Hz to tame any harshness in the tail.
- Blend with Dry/Wet to taste.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Room | Room size and overall decay length | 0.00 — 1.00 | 0.50 |
| Damp | High-frequency absorption in the tail | 0.00 — 1.00 | 0.50 |
| PreDly | Gap before the reverb onset | 0 — 100 ms | 0 ms |
| Width | Stereo spread of the wet signal | 0.00 — 1.00 | 1.00 |
| ER | Early reflections level | 0.00 — 1.00 | 0.50 |
| Mod | Internal chorus modulation depth | 0.00 — 1.00 | 0.20 |
| LoCut | Output high-pass filter frequency | 20 — 500 Hz | 80 Hz |
| HiCut | Output low-pass filter frequency | 1 000 — 20 000 Hz | 12 000 Hz |
| Freeze | Locks the tail into infinite sustain | Off / On | Off |
| Dry/Wet | Balance between original and reverb signal | 0.00 — 1.00 | 1.00 |
Dattorro Reverb
What it does — A plate reverb modeled on Jon Dattorro’s classic figure-of-eight topology, producing lush, chorused tails with a smooth, slightly shimmery character.
When you’d reach for it — Synth pads, vocals, or anything that needs a polished, studio-grade plate sound. The density and modulation controls make it especially good at filling space without cluttering the mix.
Quick example
- Feed a vocal or pad into the input.
- Set Size to 0.80 and Decay to 0.75 for a rich, sustained tail.
- Lower Damp to around 5000 Hz to warm up the reverb.
- Push Density toward 0.80 for a thicker, more diffuse wash.
- Adjust Dry/Wet so the reverb sits behind the source.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Size | Delay line scaling — bigger values, bigger space | 0.05 — 1.00 | 0.75 |
| Decay | Feedback amount — how long the tail rings | 0.00 — 0.99 | 0.70 |
| Damp (Hz) | High-frequency damping cutoff | 100 — 18 000 Hz | 10 000 Hz |
| BW (Hz) | Input bandwidth filter | 100 — 18 000 Hz | 12 000 Hz |
| PreDly | Pre-delay before reverb onset | 0 — 200 ms | 10 ms |
| Early | Early reflections blend | 0.00 — 1.00 | 0.30 |
| Density | Diffusion amount inside the tank | 0.00 — 1.00 | 0.70 |
| Mod | Internal chorus depth for movement in the tail | 0.00 — 1.00 | 0.50 |
| Dry/Wet | Balance between original and reverb signal | 0.00 — 1.00 | 1.00 |
Convolution Reverb
What it does — Applies the acoustic fingerprint of a real space (or a synthetic one) to your sound using impulse response convolution.
When you’d reach for it — You want photorealistic room tone — a specific cathedral, studio, or vintage hardware unit — and you have the impulse response file for it. Also great when the four built-in synthetic IRs (Room, Hall, Plate, Chamber) are enough and you want zero setup.
Quick example
- Drop the node in and choose Built-in or Custom File as your IR source.
- If Built-in, pick Hall for a big ambient wash.
- Set Pre-delay to 20 ms to keep the attack clear.
- Bring Mix to around 0.35 so the room supports the source without drowning it.
- If the output is too loud or quiet, adjust Gain.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| IR Source | Toggles between built-in synthetic IRs and a custom WAV file | Built-in / Custom File | Built-in |
| IR Type | Selects the synthetic impulse response | Room, Hall, Plate, Chamber | Room |
| Browse | Loads an external impulse response WAV/AIFF/FLAC | — | — |
| Pre-delay | Gap before the convolved reverb begins | 0 — 500 ms | 0 ms |
| Mix | Dry/wet balance | 0.00 — 1.00 | 0.50 |
| Gain | Output level | -40 — +12 dB | -12 dB |
| Partition Size | FFT block size — smaller is lower latency, larger is lighter on CPU | 1024, 2048, 4096, 8192 | 2048 |
Shimmer Reverb
What it does — Feeds the reverb tail through a pitch shifter before recycling it, building luminous, ever-rising (or falling) textures that bloom outward from the source.
When you’d reach for it — Ambient soundscapes, post-rock swells, cinematic drones, or any moment where you want the reverb itself to become a musical element. An octave-up shift with high shimmer turns a simple chord into a cathedral of overtones.
Quick example
- Connect a sustained chord or pad to the input.
- Set Decay to 0.90 and Size to 0.85 for a long, spacious tail.
- Leave Shift at +12 semitones (one octave up).
- Start Shimmer at 0.30 and raise it until the pitch-shifted layer is clearly audible.
- Use Dry/Wet to decide how much of the effect you want in front.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Decay | How long the reverb tail sustains | 0.00 — 0.99 | 0.85 |
| Damp (Hz) | High-frequency damping cutoff | 500 — 16 000 Hz | 8 000 Hz |
| Size | Overall reverb size | 0.30 — 1.00 | 0.80 |
| Mod | Internal chorus modulation depth | 0.00 — 1.00 | 0.40 |
| Shimmer | Amount of pitch-shifted signal fed back into the tail | 0.00 — 1.00 | 0.50 |
| Shift (st) | Pitch shift interval in semitones | -24 — +24 st | +12 st |
| Dry/Wet | Balance between original and reverb signal | 0.00 — 1.00 | 1.00 |
Spring Reverb
What it does — Emulates the metallic, splashy character of a physical spring tank — the kind you find bolted inside guitar amps and vintage organs.
When you’d reach for it — Guitars, keys, and lo-fi productions where you want that unmistakable springy drip and boing. Also surprisingly good on percussion when you want a short, metallic splash instead of a smooth tail.
Quick example
- Connect a guitar or Rhodes track to the input.
- Set Decay to around 0.60 for a medium-length spring wash.
- Turn Drip up to 0.70 to emphasize the classic spring character.
- If the wet signal is too hot, pull Wet Gain back below 1.00.
- Set Dry/Wet to 0.30 — 0.40 for a natural blend.
Parameters
| Parameter | What it controls | Range | Sweet spot hint |
|---|---|---|---|
| Decay | Feedback gain controlling how long the spring rings | 0.00 — 0.95 | 0.70 |
| Damp (Hz) | Output low-pass cutoff — lower values darken the springs | 500 — 12 000 Hz | 6 000 Hz |
| Drip | Allpass chirp depth — higher values add more spring-like splash and boing | 0.00 — 1.00 | 0.50 |
| Wet Gain | Level of the wet signal before the dry/wet crossfade | 0.00 — 2.00 | 1.00 |
| Dry/Wet | Equal-power crossfade between dry and spring-processed signal | 0.00 — 1.00 | 0.50 |