A reverb that leaves your library's seating alone and adds the hall around it – twelve rooms built from the published dimensions and decay of famous scoring stages in Los Angeles, London, Vienna, Berlin and Marin County.
Short stabs in a short Los Angeles room: the early reflections do the work, the tail stays out of the way.
Long chords in the biggest of the Los Angeles rooms – listen to the bloom under the sustain.
The London room's wood and warmth around a chord progression.
A fast pattern: pre-delay keeps every pluck clean, the room sits behind it.
The same clap from the smallest to the largest room – the fastest way to hear what the stages differ in.
The same chord three times, moved back on the stage with the Distance slider.
Six synthesised test signals, rendered through the actual Stage engine at each stage's standard sound, Mix 50 %, no other processing. The same gain is applied to both versions of a pair.
Every stage is stored as a room: dimensions, decay per frequency band, absorption, wood resonance. Early reflections are computed from that geometry at a Decca Tree listening point; the tail comes from a 32-line network tuned to the measured RT60, with real air absorption.
Under the realistic room sits a second, slower tail – the wash you know from film mixes. Both are separate controls, so the result stays a room instead of a carpet. Every stage ships with a restrained standard; signature presets sit on top, optional.
No mono summing, no re-panning. Your library already sits where it should – Stage only adds the hall around it. Positioning is a switch for soloists, or send several tracks into one shared room and place them on the stage map.
Distance moves the sources back on the stage, shortens the pre-delay, shifts the balance from distinct reflections to tail and lets the air take the top end – together, the way a composer actually means it. The standard position sounds exactly like the stage.
Every room has a reference sound. Double-click any control to return to it, or Reset the whole stage. A dot marks what you changed.
One instance in Room mode, the others on Send, every track placed on the stage map – one hall for the whole orchestra.
Decca Tree, Tree with outriggers, or a close spaced pair – the hall is heard through the array you would have hung.
Floor and wall resonance for body, gentle saturation for density, and a tail that steps back while you play and blooms in the gaps.
Fire a hand clap into the hall and compare rooms without pressing play.
The particles are the orchestra: seven spectral bands of your input rising over an abstract plan of the stage. Window resizable from 75 to 200 %.
Version 0.8 · VST3 · macOS (Universal) & Windows · [PRICE]