Crystalline is presented as a modern studio reverb and as a pristine algorithmic reverb, with the developer positioning it directly against the reverb market's conventions: Crystalline brings you everything you love about the algorithmic reverb sound but in a modern package with more control and radical sound design options. It is based on an allpass loop algorithm, which is a unique approach that offers its own distinctive sonic fingerprint.

The "allpass loop" reference is the technical substance and is worth explaining, because it describes an architecture rather than a marketing claim. Most algorithmic reverbs are built from either a feedback delay network or a Schroeder-style topology of comb and allpass filters in series. An allpass loop is a recirculating structure in which each pass through the loop applies allpass filtering rather than comb filtering — and the consequence is that the loop builds density without the strong resonant coloration a comb filter imposes, which is why the developer describes the result as pristine and why the algorithm has its own distinctive fingerprint rather than a particular room's. The trade-off is worth stating for a buyer: an allpass-based reverb produces a smooth, dense decay without the metallic ring some algorithms exhibit, but it also does not reproduce a specific acoustic space — so an engineer wanting a convincing hall should look to a convolution or a dedicated room reverb, while one wanting a clean, controllable tail with no artefacts is the correct buyer. The developer's own coverage is documented: Crystalline is giving unprecedented creative control to shape your reflections, and as letting you sync reverb start and decay times to your song's tempo — and the tempo-syncing of the reverb's start and decay times is the unusual capability, since most reverbs are free-running and a producer wanting a tail that lands on the bar has to trim or automate it, whereas a tempo-synced reverb places the effect on the grid. It ships with 15 creative parameters and more than 300 presets created by Baby Audio and friends of the house, and the parameter count and preset library together describe a reverb intended for shaping rather than selecting — which is the correct framing for a product whose algorithm has a particular character. The catalogue should cite a named practitioner rather than the full awards list, following the pattern set on the developer's other titles: Crystalline does things none of my other reverbs do. It's a brand new, creative approach to reverb — Dean Reid, producer and mixer for Lana Del Rey, FKA Twigs and Lykke Li. It is also available as an AUv3 reverb plugin on iOS, offering the same sound and feature set as the desktop version, and is sold at a regular price of $99.00 through Plugin Alliance, where a personalised offer mechanism may apply — so the listing should carry the current price rather than assume the list figure applies to every buyer.

Suits ambient and electronic production, pop and indie mixing, and any session where a clean, controllable, unusually-shaped reverb is wanted.

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