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Native Raum Manual

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Only in the broad sense. I mean, I wanted it to be able to do realistic reverb, but I also wanted it to
fulfill the role of certain Lexicon reverbs or the Alesis Quadraverb, for example. I wanted it to be
able to be an unreal reverb that sounded good. But we did not want to go back to the same algo-
rithms. We wanted a more modern, more hi-fi take on those sounds. By the way, Cosmic is not
using a feedback delay network, it is more in the direction of the traditional Lexicon and Alesis re-
verbs, or the Eventide ones.
Many effects provide flexibility through lots of modes and controls, RAUM is very focused.
Only three algorithms, and fewer controls compared to many other reverbs. What was the
thought process behind selecting the controls and their ranges to cover all this ground?
What we aimed for was to make sure that every parameter is interesting, and also to try and give
them wide ranges, but wide ranges that were sensible. Wide ranges where all the settings are in-
teresting, but different. I think this is especially true for the size control, which has a super wide
range. It goes from really tight to so sparse that it is almost like a granular effect. But there is never
a point where you would think: "Why would I turn it here, this is not usable." It is a nice gradient of
useful things.
We tried to do this with all of the controls, I would say. The modulation is another good example. In
the early parts of the control you just get a little bit of movement that breaks up echoes, more like
the traditional reverb modulation use case. As you go up to 30, 50 percent you will get chorusing.
Once you go above about 70 percent, it will start going into weird, uncanny territory, where it
sounds detuned and dissonant. You have got three different use cases, and then you try and pack
them all into the same control, and make the transition between them meaningful.
Reverb is often understood as a set and forget effect, but RAUM feels really playable and
sounds great when automated. You can throw automation at pretty much any control and it
still sounds good. Was this intentional?
Yeah, it is definitely intentional. We first started thinking about reverb like this in the context of MA-
SCHINE, where you want every effect to sound great when using it with the automation view. But I
guess it was also just the Zeitgeist. For example, Tom Erbe did the Erbe-Verb, which is heavily
invested in real time control issues for reverb. I thought more about this again when we started
working on RAUM.
I would say we did focus on this especially with the pre-delay section, and also with the Freeze
function. I mean, Freeze does not even make much sense in a set and forget way, you either auto-
mate it or play it live. It is an interactive performance element. The filters are also very carefully
tuned to feel nice. Both for tweaking the tone of the reverb, but also for playing with them.
I think we were just very aware that it is interesting to allow a reverb to do these things. In a way, it
takes it from being a mixing or texture effect to being an instrument. Also, if you are designing pa-
rameters to be nicely automated, they just feel better when you are turning the controls. So even in
normal usage it contributes to the user experience.
Do theory or tweaking play a bigger role in developing a reverb?
I think tweaking is super important, but not in the way of throwing stuff against the wall to see what
sticks. What I like to do, and I do this not just with reverbs, is to understand how the tweaks are
going to change the sound. Then I can be listening to the correct things and tweak until they sound
how I want them to be. It is about having a clear idea of cause and effect. With reverbs that some-
times gets difficult as it is such an abstract system, there are so many different things interacting. I
try to maintain a strong connection between what I am trying to achieve and how I would have to
listen to actually hear it.
Interview about RAUM
22 RAUM Manual
… 24


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