Load it on a stereo track.
Insert Voltage Spaces as an audio effect on a vocal, instrument, drum bus or effects return. It accepts stereo audio and reports zero samples of plug-in latency.
USER GUIDE · Lush and Natural stereo reverb
Voltage Spaces
from first space to final recall
Thank you for choosing Voltage Spaces. Let’s make a space.
Choose the character the arrangement needs, shape it with six controls, then decide whether Echo Into Space should lead the source into the tail.
For Voltage Spaces 0.1.5 on macOS, in Audio Unit / CLAP / VST3.
A useful space quickly
Quick start
Sign in to your bitsnacks account in Bitsnacks Vending Machine to start the full 14-day trial. Install Voltage Spaces there and restart your DAW before loading it.
Choose the role.
Select Lush when the tail should move and join the arrangement. Select Natural when the source needs stable, convincing placement.
Set timing and scale.
Use Pre-Delay to separate the source from the reverb onset. Set Size for the apparent space and Decay for how long it remains.
Finish the colour.
Move Tone until the tail supports the source, add only as much Motion as the part needs, then set Mix.
Add echo only when it earns the space.
Turn Echo Into Space on for rhythmic repeats before the reverb. Sync it to the host or choose a free time, then set repeat amount and stereo movement.
Compare, then save.
Use A/B to compare two complete settings at the same listening level. Save the preferred setting as a preset or with the host project.
The decision that changes the space
Lush or Natural
Lush
Movement becomes part of the sound.
Use Lush when the tail should be audible as a musical layer. It can widen a synth, keep a vocal tail alive between phrases or make a snare reverb participate in the groove.
- Bring Motion forward for an obviously animated tail.
- Use longer Decay settings when the reverb should connect events.
- Reduce Motion when the part already carries vibrato or chorus.
Natural
Placement stays steady around the source.
Use Natural when depth matters more than an audible effect. It gives piano and strings a stable place. Voice and other acoustic recordings stay focused too.
- Shorter Decay settings create close, useful rooms.
- Pre-Delay can keep speech or a lead vocal clear.
- Motion remains subtler, even as the control rises.
The main row
Six controls, six jobs
Pre-Delay
Moves the start of the reverb away from the dry source. Short values glue the sound into the space; longer values preserve the leading edge and create a noticeable gap.
Size
Sets the apparent scale of the environment. Adjust it before fine-tuning Decay, because the same decay time feels different in a compact room and a large field.
Decay
Controls how long the reverb remains audible. Match it to the space between phrases and hits. The tail can clear before a chord change or connect it intentionally.
Tone
Moves the colour of the tail darker or brighter. The centre position is a voiced starting point rather than an off switch.
Motion
Sets how present the movement feels. Its musical result depends on the selected character: prominent in Lush, restrained in Natural.
Mix
Balances dry and processed sound. Use lower values on inserts and 100% on a conventional effects return.
Repeats before the selected reverb
Echo Into Space
01INPUTThe source enters the wet path
02ECHO INTO SPACEDirect feed plus repeats
03LUSH OR NATURALEvery repeat enters the space
The five decisions
- Echo On starts or stops the echo section.
- Echo Sync changes Time between milliseconds and musical divisions.
- Time has a free range of 1-1500 ms, or synced divisions from 1/64 through 2 bars.
- Echo controls the repeat train.
- Stereo moves the repeats across the left and right channels.
What it is not
Echo Into Space is not a replacement for Pre-Delay. The source still feeds the chosen reverb while the repeats enter it too. That makes Time a rhythmic choice and Pre-Delay the onset control for the reverb itself.
Try a synced eighth or dotted eighth on sparse material. For a single halo behind a phrase, use a shorter free time and a restrained Echo amount.
Starting points and decisions
Presets and A/B
Browse and save presets
- The preset arrows cycle through factory presets, followed by your saved user presets.
- Listen in the context of the track, not only in solo.
- Adjust the six main controls and Echo Into Space for the source.
- Save stores the current controls under the active preset name with Copy added. Repeated names receive a number; the new preset joins the arrows’ cycle.
Factory content spans compact placement, moving tails and echo-led spaces. A preset is a starting point, not a requirement to keep every control unchanged.
Compare two complete ideas
- Build the first setting in slot A.
- Click Copy A to B to copy A into B, then select B and make the alternative.
- Switch between A and B at a matched output level.
- Leave the preferred slot selected before saving.
Changing slots remembers the controls in the slot you leave and recalls the other one. The copy button always copies the active slot over the other. A/B remains available when you close and reopen the editor in the same instance; save each sound you want to keep as a preset before closing the project.
Judge the arrangement.
A beautiful solo tail can mask the next phrase. Compare while the surrounding parts are playing.
Louder is persuasive.
Use Mix and track gain to prevent level from deciding the comparison for you.
A saved copy.
Your saved presets are available to other instances on this Mac. An instance already open picks up new saves when you reopen its editor.
The same effect in two shapes
Interface and meters
Wide layout
The wide view keeps the six reverb controls in one row, with Echo Into Space, the preset browser and A/B comparison above them. Hosts that support resizing let you drag the window to change its width.
Compact layout
The narrow view groups the same controls into collapsible Engine and Reverb sections, plus Echo. Nothing musical disappears when the panel changes shape.
Wide
CompactProjects and automation · Recovery
Recall it with confidence
Project state
Your host saves the current sound and editor size with the project. The A/B comparison slots are not stored in the project. Reopen using the same plug-in format and save alternatives as user presets.
Automation
The musical controls are available to the host for automation. Draw changes at useful musical boundaries and audition the transition, especially for long Decay values or engine changes with a live tail.
No sound after installation
Check that audio reaches the stereo track or effects return, then confirm its output routing and fader level. At zero Mix, Voltage Spaces passes dry audio; zero Mix does not cause silence.
A project opens dry
Raise Mix above zero and check that the host has not bypassed the effect. If the editor shows a licence notice, open Voltage Spaces in Bitsnacks Vending Machine to check the trial or repair the device licence. Restart the host after repair.
Still stuck?
Send the host name and version, plug-in format, operating system, and the shortest steps that reproduce the problem. For a sound question, include the source type and the setting you expected to hear.