Orra Deverb
De-Reverberation
Reduce the room sound in a recording: the reverb tail that follows notes and words, and the ambience that sits under them. One track, mono or stereo, with no reference signal. Press Scout to measure the room from the material itself, then set the balance by ear.
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What's inside
The controls, the starting points, and what it costs you in latency
Reduction (0 to 100 %), How much room to remove. At 0 % the output is the original, delayed by the plugin’s latency. Scout sets it to 95 %, and most material sits between 60 and 95 %.
Room Decay (0.15 to 3.00 s), The room model’s decay time, the same RT60 a reverb plugin calls decay. Set it to the reverb you hear, or let Scout measure it.
Reverb Level (−24 to 0 dB), How loud the reverb is relative to the direct sound. Lower values protect sustained notes; raise it for very wet material.
Preserve (0 to 100 %), Protection for attacks and tonal detail. Higher for instruments, sustained vocals and full mixes; lower for a stronger clean-up of speech or percussion.
Focus (−100 to +100 %), Tilts the reduction toward low or high frequencies. Useful when the reverb is darker or brighter than the source.
Smoothing (0 to 100 %), How quickly the reduction may deepen frame to frame. Higher sounds calmer on sustained material.
Max Reduction (3 to 30 dB), The deepest cut allowed at any frequency. Smaller keeps more natural ambience; larger dries the tails further.
Output (−18 to +18 dB), Output trim, applied to the restored and the removed signal alike.
Removed (key), Monitors only what is being taken out. You should hear room and little else.
Bypass (key), Passes the original at the same latency, so switching stays in time.
All eight knobs, Removed and Bypass are host-automatable.
It measures the room for you
Room Decay and Reverb Level are the two settings that decide the result, and both are hard to guess. Press Scout and play a passage with pauses or clear note endings. It learns from the tails that follow them, stops on its own after 8 to 30 seconds of audible material, and writes what it found.
Everything it writes is an ordinary parameter change, so the host sees it, automation can override it, and undo takes it back.
If it hears fewer than four usable tails it reports how many it found and changes nothing, rather than guessing.
What Scout sets
Room Decay
Fitted on the diffuse part of the signal, so the source’s own fades do not count
Reverb Level
Measured from the left-right coherence. Stereo tracks only
Max Reduction
Deep enough to place the tail about 40 dB under the source
Preserve
Higher for sustained, tonal material; lower for percussive
Focus
Tilted toward where the reverb is stronger relative to the source
Reduction
95 %. The one control it leaves to you
Smoothing and Output are never changed.
A room model, and a separation
Two numbers describe the room. Everything else is deciding, frame by frame, which is which.
The room model
Room Decay is how long the reverb takes to fall by 60 dB. Reverb Level is how loud it is against the direct sound. With those two numbers the plugin can predict how much reverb should be present now at each frequency, from what it heard a moment ago.
The separation
The audio is analysed in overlapping 43 ms frames. For every frequency it weighs whether the level is falling at the rate the model predicts, whether a short-term predictor can explain the sound from the recent past, and on stereo tracks whether left and right agree. A centred voice is the same in both channels; a stereo reverb is not.
The protections
Preserve keeps attacks and the harmonics of sustained notes from being treated as room. Max Reduction sets the deepest cut allowed. The same gain is applied to both channels, so the stereo image is not disturbed.
What it does not do
The first 40 ms after a sound, where early reflections live, are left alone. That is what keeps the direct sound intact, and it also means a very small room's colouration stays. Phase is never altered. Reverb underneath dense, sustained material cannot be fully separated by any single-track method, and at strong settings the natural release of an instrument can be shortened along with the room. It is not a noise reducer.
Get Orra Deverb
Free, and pay what you can if it earns it.
Pairs well with
Orra Space
Take the room off a track with Deverb, then put the one you want back on. Five reverbs and a tape delay running in parallel under one crossfade.
Explore Orra SpaceOrra EQ
Once the room is out of the way, the source is easier to place. 16 bands of parametric EQ with per-band saturation and dynamic sidechain.
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