✨ Introducing the MSP-126 Multi-Tap Stereo Processor — the rarest Ursa Major — now as a plugin ✨
Temecula DSP SG-626 Plugin
When pristine mattered more than character.
A Cleaner Reverb
After creating the SST-282 Space Station in 1978, Christopher Moore set out to solve what he saw as its flaws (now beloved as its signature character): the spectral smearing, modulation noise, and pitch artifacts caused by its wandering delay taps. The result was the Stargate 626 - double the memory for decay times up to 20 seconds, a completely redesigned reverb algorithm with true pitch stability, wider 15kHz bandwidth, and a smoother, more refined character. This plugin faithfully recreates that classic sound with modern conveniences like tempo sync and preset management.
The SG-626 is not an approximation - it is a mathematically accurate implementation of the DSP bit for bit.
VST3
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AU
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AAX
Demo will output 3 seconds of silence every 30 seconds and cannot save presets. Purchase a license to upgrade the demo to a full copy.
Read more about how the circuit works in Anatomy of the StarGate 626.
Step Through the Stargate
These samples demonstrate the Temecula DSP SG-626 plugin. Every track plays the Dry (unprocessed) loop first, followed by the Wet (processed) version.
Features
16 programs (8 original rooms, extended rooms, and echo modes)
15kHz bandwidth with 3rd-order elliptic lowpass filters
Decay times from 0 to 20 seconds (room dependent)
Pre-delay up to 320ms (rooms) or 2.0s (echo programs)
Continuously adjustable LF Decay (14Hz–482Hz corner)
Continuously adjustable HF Decay (3kHz–15kHz corner)
Tempo sync on echo programs (1/32 to whole, dotted & triplet)
Input Mute, Dry Only, and Reverb Clear override buttons
Envelope-following modulation with 5 discrete rate levels
15 modulated feedback taps and 8 unmodulated output taps
Direct and Reverb stereo mix controls for send or insert use
Available as VST3, AU, and AAX
16 Programs
One algorithm, sixteen datasets. Each program loads a different arrangement of tap positions, decay curves, and modulation shapes from the original PROMs.
Plate 1
Fast-diffusing plate reverb. 16ms inherent pre-delay, up to 2.0s decay. Greatest coloration — ideal for percussion and transient-heavy sources.
Plate 2
Slightly larger plate. 24ms pre-delay, up to 3.0s decay. Still fast-diffusing with distinctive character.
Chamber
Studio live chamber. 40ms pre-delay, up to 4.0s decay. Tight, controlled ambience for vocals and intimate sources.
Small Hall
Intimate concert space. 64ms pre-delay, up to 5.0s decay. Balanced for vocals, piano, and chamber material.
Hall
Medium concert hall. 88ms pre-delay, up to 6.0s decay. Classic hall reverb for orchestral and ensemble material.
Large Hall
Large performance venue. 120ms pre-delay, up to 7.0s decay. Wide, spacious reverb with slower diffusion.
Cathedral
Cathedral or large church. 160ms pre-delay, up to 8.0s decay. Least coloration, most spaciousness.
Canyon
Vast open space. 200ms pre-delay, up to 10.0s decay. Slow-building tail with maximum sense of scale.
Large Space
Extended canyon. Up to 15.0s decay. Ambient pad and sound design territory.
Cavern
Maximum space. Up to 20.0s decay. The largest available room — practically infinite in character.
Echo
Fixed-tap echo with 20–440ms pre-delay and up to 4.0s decay. Modulation disabled for clean, precise repeats.
Long Echo 1
50ms to 2.0s pre-delay, up to 15.0s decay. Tempo-syncable for rhythmic echoes.
Long Echo 2
Same range as Long Echo 1 but a different tap pattern. Tempo-syncable.
Long Echo 3
Third long-echo variant with its own tap pattern. Tempo-syncable.
Very Long Echo
200ms to 2.0s pre-delay, up to 15.0s decay. Tempo-syncable. Widest spacing for slow rhythmic echoes and ambient washes.
Plate 3
Wraps back to the shortest decay times (up to 1.5s). Tight, compact reverb for subtle thickening and ambience.
The History of the Stargate
Christopher Moore, founder of Ursa Major and Seven Woods Audio.
When the SST-282 Space Station launched in 1978, it was a revelation—a studio-quality digital reverb at a fraction of the cost of competitors like the EMT 250. But Christopher Moore, its creator, was already thinking about what could be improved. The 282's distinctive character came partly from what Moore considered design compromises: the wandering delay taps that caused pitch artifacts, the spectral smearing from its crude modulation algorithm, and the 7kHz bandwidth limitation imposed by the technology of the day.
A Stargate 626 PROM in the T48 reader — extracting the ROM data needed to upgrade the plugin from the 323 to the 626.
By 1984, Moore had developed an entirely new approach. Rather than using simple triangle-wave modulation with complementary tap pairs (the 282's method of minimizing pitch wobble), the Stargate 323 employed PROM-based lookup tables with complex, hand-optimized waveforms. More significantly, the Stargate introduced dual-domain modulation—varying not just the delay time of each tap, but its gain as well. The result was true pitch stability and a smoother, more refined reverb character with a wider 15kHz bandwidth.
The Stargate 323 found its way into studios worldwide, prized for recordings where clarity and pristine character mattered more than the 282's distinctive "grit." The Stargate 626 followed, doubling the memory capacity to allow decay times up to 20 seconds and adding eight additional programs. This plugin faithfully recreates that algorithm—the signal-adaptive modulation, the PROM-based waveforms, the refined character—bringing the Stargate's sophisticated reverb to your DAW.
Read more about Christopher Moore in this interview from Tape Op Magazine.
This Tap Dancer Got New Shoes
SPACE STATION SST-206
DELAY MODULATION
SG-626
RANDOM DELAY + GAIN MODULATION
INPUT LEVEL
50%
SST-206: Complementary Delay Modulation
The Space Station uses 15 feedback taps organized into 7 complementary pairs plus one solo tap. Each pair moves in opposite directions — when one tap shifts forward, its partner shifts back by the same amount. This ingenious design cancels out pitch artifacts while creating the signature dense, shimmering reverb tail. The orb size represents signal level, which remains constant regardless of tap position.
SG-626: Delay + Gain Modulation
The Stargate 626 takes a different approach with its 15 taps. Rather than complementary pairing, each tap modulates independently in both random delay and gain. The ceiling line represents the gain ceiling — a hardware limiter that prevents any tap from exceeding a maximum level. When orbs hit this ceiling, they compress and spark. This creates a smoother, more controlled reverb with less pitch warble but a different character than the Space Station.
© 2026 Temecula DSP.
SST-282, SST-206 and Stargate 626 are model numbers originally used by Ursa Major and Seven Woods Audio. Temecula DSP is not affiliated with the estate of Christopher Moore, Ursa Major, or Seven Woods Audio.
DP/4 is a trademark of Creative Technology Ltd. Temecula DSP is not affiliated with, endorsed by, or sponsored by Creative Technology Ltd.
"Alesis" and "MidiVerb" are trademarks of inMusic Brands, Inc. Temecula DSP is not affiliated with, endorsed by, or sponsored by inMusic Brands, Inc.