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Neither is really more important than the other. The algorithm sets the bounds of what you can do,

but it is going to have a lot of bad sounds in that space. So tuning and giving it meaningful param-

eters is what makes it sound good, I would say. If the algorithm is not very capable, you still might

be able to make it sound great for one specific situation, but it is not going to have a wider applica-

bility.

Tell me one of your favorite uses of RAUM.

I definitely like using the pre-delay section as a resonator or a comb filter.

Then let us talk about pre-delay.

Every reverb has pre-delay, but it is usually just a utility function, unless you can maybe sync it.

We wanted to have it syncable, so we put that in, and then I thought, hang on. We just have this

delay line here and it is not really doing anything apart from delaying the input. All we have to do is

add one feedback path and then suddenly we have got something quite interesting. So that is how

we ended up having the feedback control.

But there is a lot of other things going on in there. The sound of the pre-delay is very specific. It is

a bit like the Modern mode in REPLIKA, but not exactly. Most of the time when you are doing de-

lays, you use interpolation to exactly hit a particular delay time. But the problem is that any time

you use interpolation, it introduces filtering. Especially if you have feedback, you can hear that in a

degradation of the signal as it recirculates.

In this case we basically decided that we do not care if there is a tiny fraction of a millisecond of

error in the delay time. We are going to quantize all the available delay values to an integer num-

ber of samples, which means we do not have any loss from interpolation. So you have an abso-

lutely lossless delay line, until you start introducing filtering yourself. And I think you can really tell

the difference here, especially in the comb filtering use cases, because it has this high frequency

clarity which is a bit unusual.

We also did not want to use distortion to tame the peaks when you are doing comb filtering, be-

cause this would also make it less clean than we wanted it to be. But it is still necessary, because

if you have a completely linear comb filter, you will get really strong resonances that are super

loud. So instead, we put a limiter in the feedback path. Not in the main signal path, but when the

delay is recirculated, then it goes through a limiter. The release time of the limiter is adapted based

on the delay time, so it never really sounds like limiting. It just means that it stops the feedback

from getting out of hand, while still allowing it to resonate nicely. I think you can really hear that. I

never really got that kind of cool sounds out of high frequency comb filtering before.

What are some of the other use cases where this clean pre-delay sound comes into play?

I mean, obviously it is just better even as a normal pre-delay, because you do not have any high

frequency filtering if you do not want it. It is also nice when you use it as a looper. You can use

extremely long delay times, I think four bars is the maximum. This interacts really nicely with the

limiter as well, because then the limiter kind of acts like an auto overdub feature.

The sound is completely clean and will recirculate forever at 100% feedback, and then you can

play on top and introduce bits into the buffer. If you had interpolation, that would not work because

after 20 repeats or something you would start to hear the filtering building up and building up. But

this will hold a loop forever, unless you dial in the filters.

You mentioned earlier that Cosmic is a different algorithm.

Interview about RAUM

23 RAUM Manual

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