HALO

How much of the pitched layer (octave + fifth, fixed voices) is re-injected into the loop. At 0, a plain reverb; at full, a soaring choir.

The loop feedback — how long it lasts. Mapped log with a stability floor: near max it grows "infinite" right at the edge, never diverging.

The FDN diffuser size and pre-delay — the space the shimmer blooms in, from a room to a cathedral.

A band EQ on the feedback path. Not just colour: darkening it is the brake that keeps the near-runaway loop stable.

Binaural ITD/ILD pan that carries the halo around the head. Free (glacial — a turn per ~100 s) or synced (1–8 bars per orbit).

FREEZE captures the cloud (feedback to unity). LOW/HI CUT shape the wet tail; MIX blends dry/wet. IN PHASE folds to mono-safe.

Schroeder allpass / diffuse delay lines — the same dense, metal-free network as NEBULA, reused directly for HALO's base reverb.

A splice/overlap pitch-shift inside the feedback adds the classic "orchestral" sidebands. Voices are fixed (octave + fifth) for musical, in-tune climbs.

Decay is mapped log with a stability floor; the Tone band-EQ on the loop keeps it right at the edge of infinite without running away.

ITD/ILD head-shadow panning carries the shimmer around the head — a real circling image, free or synced to the host tempo.

Captures the current cloud: feedback to unity, input to zero — an infinite, stable pad held until you let go.

Crossfaded pitch splices avoid warble, soft limiting tames near-infinite tails, IN PHASE folds wide to mono — survives the club.