reverb enquiry - cpu light, ms control, MSP/VST?
Hello all,
This question is about the best reverb (pref MSP object) for a job... im a bit stuck after inital dearches and tinkering.
Im wanting to employ a number of reverb processes as part of a subpatch. The reverb in this case is not trying to emulate room characteristics, rather add body to some very small/short sounds (impulses in the range of 3-10ms) - provide a decay and extend thier body/duration as such.
For this im wanting to have control over a couple of parameters: a LPF rolling off at around 500 Hz (which conceivably I could do externally so not essential), and decay time, which I need to specify in milliseconds, for decays like 200-500 ms. Ideally as well id like to be able to control/reduce obvious "first reflection" characteristics
Im hoping to use something that is cpu cheap, as there are a few of these processes going on at once.
Now on the maxobjects page i found and had a look at monoverb~ altiverb~ freeverb~ and nw.gverb~
Of these the only one to control decay time in ms was nw.gverb~ but this didnt really offer the right sound, with too much early reflection.
NOW
Im wondering if i should give up on max/MSP in this case and just try to find a free VST? Id rather stick to max only processes, but i feel ive exhaused my avenues.
If anyone can help in pointing out some other options MSP or VST, it would be fantastic!
Many many thanks in advance
Eliot
Quote: Eliot Palmer wrote on Thu, 15 February 2007 21:58
----------------------------------------------------
> Hello all,
>
> This question is about the best reverb (pref MSP object) for a job... im a bit stuck after inital dearches and tinkering.
you must have missed this one, then:
http://www.maxobjects.com/?request=reverb
I like gigaverb~ - I believe it does what you want.
In the reverb patches I've made (using either my own or tap.verb~),
I've included some degree of random offset to the parameters applied
to the left & right channels in order to decorrelate the channels for
better stereo separation. A difference of +/- 1% seems to be enough
if applied separately to all the parameters in each channel.
On Feb 15, 2007, at 3:59 PM, Gary Lee Nelson wrote:
>
> I actually
> used two of them in a stereo system to get better separation. I was
> probably doing something work but one unit seemed to produce little
> channel
> differentiation even though it was send stereo out.
----
Steven M. Miller
Home
SFIFEM
Atrium Sound Space
OVOS
Thanks all
must have missed gigaverb~ in my search
will give it a try - much more appealing than building one myself right now...
cheers
actually im finding gigaverb to have serious stablity issues. everytime i close a patcher window with it inside (ie the help file) it crashes max
dont know if anyone else has experienced this? running 4.6 so perhaps its an update problem?
I used gigaverb~ over several months on a recent project with no problems.
I even used it in a live piece with many rehearsals before the performance.
No problems on an Intel laptop with 4.6
On 2/17/07 4:24 AM, "Eliot Palmer" wrote:
>
> actually im finding gigaverb to have serious stablity issues. everytime i
> close a patcher window with it inside (ie the help file) it crashes max
>
> dont know if anyone else has experienced this? running 4.6 so perhaps its an
> update problem?
Cheers
Gary Lee Nelson
Oberlin College
www.timara.oberlin.edu/GaryLeeNelson
Hello
I also used gigaverb~ in concert and I confirm
that it is stable, even with hudge released time.
gigaverb~ is nicely versatile too.
You could have a look also at the DX light reverb from
Anwida. It's a free Vst, with very nice sound quality
not too Cpu eater
but also...not UB at the moment
(and maybe too basic for you)
Best
Eryck
thanks again
had copied over the wrong build of giga - reloaded and now working strongly
was unclear on the UB version? thought they were just for the intel macs? but the UB is what is needed for the previous generation as well? running a dual 2.0 G5 and ther UB version fixed up the issue
think ive been asleep (and not on my max projects) since the whole intel thing (seems a while now)
Eliot
i have made some of my reverbs from this (old) "newverb" patch, its original aready sounds nice. just dont exspect to make a
good sounding reverb on the max layer which does not need any cpu.
I also use the Anwida DX light Reverb VST, it more than suits my needs, but lately I'll hell bent to rid my system of VSTs and use only MAX patches. I tried gverb, and I even created a stereo version of it. It sounds great, but different than the Anwida reverb. I'm just used to the Anwida sound for now and can't seem to replace it. My search continues....
I tried messing with gigaverb, but I just can't get the thing to work. The wet level is very, every low. I tried adding a fader control and a multiplier, etc, etc..just can't get it to work. Does anyone have a modified version for live use you can send me or share below? I'm trying to create a cleaned up version that doesn't have all the stuff for processing sample files. And I just need adc and dac, no sophisticated i/o object to select different inputs and outputs. I've been deleting all of that.
Also, has anyone tried out the reverb example in the Max Examples folder? Any luck?
I'm still working through some of the examples on the maxobjects database. If you know of any jewels, let me know. I don't mind processor intsensive patches either.
Kris
Quote: Eryck Abecassis wrote on Sat, 17 February 2007 08:22
----------------------------------------------------
> Hello
>
> I also used gigaverb~ in concert and I confirm
> that it is stable, even with hudge released time.
> gigaverb~ is nicely versatile too.
> You could have a look also at the DX light reverb from
> Anwida. It's a free Vst, with very nice sound quality
> not too Cpu eater
> but also...not UB at the moment
> (and maybe too basic for you)
>
> Best
>
> Eryck
>
>
>
----------------------------------------------------
BTW, Nathan Wolek had mentioned to me off line that the MAX nafr~ object was a really good reverb patch, located in the MAX/MSP Examples folder under Effects, Reverb, and Lib. This was after I had been strugglig with gigaverb, gverb, and others in search of a replacement for my Anwida VST. I was hoping to find a reverb patch made purely from MAX internals, and yafr is it! It is a beautiful reverb, and cleverly written, from my neophyte perspective.
I was complaining that it was mono to stereo, and so I created a true stereo version, copied below. I added some faders to control left and right dry/wet mix as well. I could probably just use on set for those, but I wanted to leave the capability there for now.
Kris
On Mar 15, 2007, at 3:22 PM, Krispen Hartung wrote:
> BTW, Nathan Wolek had mentioned to me off line that the MAX nafr~
> object was a really good reverb patch, located in the MAX/MSP
> Examples folder under Effects, Reverb, and Lib. This was after I
> had been strugglig with gigaverb, gverb, and others in search of a
> replacement for my Anwida VST. I was hoping to find a reverb patch
> made purely from MAX internals, and yafr is it! It is a beautiful
> reverb, and cleverly written, from my neophyte perspective.
Thanks! You may want to try yafr2. It sounds much smoother, which
may be desirable.
-Randy
yafr2 ? I'll search for it. Cool. I just realized I had a typo above...called "yafr" "nafr". Ooops.
K-
Quote: randall jones wrote on Thu, 15 March 2007 18:06
----------------------------------------------------
>
> On Mar 15, 2007, at 3:22 PM, Krispen Hartung wrote:
> > BTW, Nathan Wolek had mentioned to me off line that the MAX nafr~
> > object was a really good reverb patch, located in the MAX/MSP
> > Examples folder under Effects, Reverb, and Lib. This was after I
> > had been strugglig with gigaverb, gverb, and others in search of a
> > replacement for my Anwida VST. I was hoping to find a reverb patch
> > made purely from MAX internals, and yafr is it! It is a beautiful
> > reverb, and cleverly written, from my neophyte perspective.
>
> Thanks! You may want to try yafr2. It sounds much smoother, which
> may be desirable.
>
> -Randy
>
>
>
----------------------------------------------------
Krispen Hartung skrev:
> yafr2 ? I'll search for it. Cool. I just realized I had a typo above...called "yafr" "nafr". Ooops.
>
> K-
>
> Quote: randall jones wrote on Thu, 15 March 2007 18:06
> ----------------------------------------------------
>
>> ...
>> Thanks! You may want to try yafr2. It sounds much smoother, which
>> may be desirable.
>>
>> -Randy
>>
I just searched for it - it didn't show up locally, on maxobjects.com or
on google. Randall, are you sure you didn't make yafr2 yourself? :)
Andreas.
On Mar 15, 2007, at 7:48 PM, Andreas Wetterberg wrote:
> I just searched for it - it didn't show up locally, on
> maxobjects.com or on google. Randall, are you sure you didn't make
> yafr2 yourself? :)
I'm sure I did make it myself, but I thought it had made it into the
examples. Enjoy.
On Mar 16, 2007, at 2:25 AM, Randy Jones wrote:
> I thought it had made it into the examples. Enjoy.
I had it here. The goodness that makes [yafr2] good is much like the
goodness in [gverb~]. You kids designing reverbs at home, remember
to tap the network in multiple spots and combine the output.
-----
Nathan Wolek
nw@nathanwolek.com
http://www.nathanwolek.com
Thanks, Randall! Can you provide a brief summary of the changes from yafr to yafr2? Did you add any new objects or change the wiring? I will load this up and check it out. I'm already impressed with the first version. It think it sounds wonderful. I added overall dry and wet mix sliders.
Kris
Hi,
I made yafr because there weren't any reverbs in the examples. It's
a kind of ancient reverb topology that sounds, as one list member put
it, something like rain on a tin roof. Not dense but I find it nice
for delicate stuff.
Yafr2 is completely different beast. Based on the great 1997 J
Dattorro article on effects in JAES It's a fairly detailed topology
of a reverb design "in the style of Greisinger," who was working for
Lexicon at the time. I added the modulation of the allpass times
with filtered noise, which sounds better to me than periodic modulation.
More modern approaches to reverbs are out there including FDNs,
waveguide meshes and the ever-popular convolution.
all the best,
Randy
On Mar 16, 2007, at 7:10 AM, Krispen Hartung wrote:
>
> Thanks, Randall! Can you provide a brief summary of the changes
> from yafr to yafr2? Did you add any new objects or change the
> wiring? I will load this up and check it out. I'm already impressed
> with the first version. It think it sounds wonderful. I added
> overall dry and wet mix sliders.
>
> Kris
>
> --
> Krispen Hartung
> Creative Performance & Composition
> Guitar / 6-String Mandolin / Laptop
> www.krispenhartung.com
> info@krispenhartung.com
On Mar 16, 2007, at 3:08 PM, Randy Jones wrote:
> Based on the great 1997 J Dattorro article on effects in JAES It's
> a fairly detailed topology of a reverb design "in the style of
> Greisinger," who was working for Lexicon at the time.
This is exactly the same source as [gverb~].
-------------------
Nathan Wolek, PhD --- nwolek@stetson.edu
Assistant Professor of Music Technology
Stetson University - DeLand, FL
http://www.nathanwolek.com
Yes,try to study the Griesinger/Blesser Algo.
It`s the most efficient Algo more than Schroeder/Moorer.
I made to Reverbs with both Algo`s and Schroeder/Moorer is much more CPU intensive (when you want to reach a good Density) as Griesinger/Blesser.But the Schroeder/Moorer Algo is more flexible.
good luck
am
And a combination of tapout~ multiple arguments (16+) with matrix~ can
give you a quite decent sounding early reflection model.
Peter McCulloch
P.S. I've finally posted my matrix~ objects to my website. You can
get them at:
www.petermcculloch.com in the projects section
Any ideas on how I would go about turning this into a large hall reverb, vs. plate? The reverb time (bottom number box) seems to max out too soon for my taste, but I can't quite figure out what I need to add or tweak to change this.
Kris
Quote: randall jones wrote on Fri, 16 March 2007 00:25
----------------------------------------------------
>
> On Mar 15, 2007, at 7:48 PM, Andreas Wetterberg wrote:
>
> > I just searched for it - it didn't show up locally, on
> > maxobjects.com or on google. Randall, are you sure you didn't make
> > yafr2 yourself? :)
>
> I'm sure I did make it myself, but I thought it had made it into the
> examples. Enjoy.
>
> max v2;
> #N vpatcher 72 44 715 844;
> #P origin 7 -30;
> #P window setfont "Sans Serif" 9.;
> #P newex 487 71 40 196617 / 127.;
> #P flonum 311 149 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P flonum 288 127 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #N comlet diffusion;
> #P inlet 487 22 15 0;
> #P newex 487 49 62 196617 clip 0. 127.;
> #N comlet damping;
> #P inlet 358 23 15 0;
> #P newex 358 50 62 196617 clip 0. 127.;
> #N comlet decay time;
> #P inlet 236 24 15 0;
> #P newex 236 51 62 196617 clip 0. 127.;
> #N comlet audio in;
> #P inlet 14 25 15 0;
> #N comlet size;
> #P inlet 105 24 15 0;
> #P newex 105 50 62 196617 clip 0. 127.;
> #P newex 105 73 111 196617 zmap 0. 127. 0.01 1.6;
> #P newex 588 682 29 196617 t b f;
> #P newex 588 705 29 196617 * 1.;
> #P newex 154 422 29 196617 sig~;
> #P flonum 299 106 35 9 0 0 0 3 0 0 0 221 221 221 222 222 222 0 0 0;
> #P newex 419 614 77 196617 * 106.300003;
> #P newex 401 539 71 196617 * 89.239998;
> #P newex 366 423 29 196617 sig~;
> #P newex 366 401 77 196617 * 141.699997;
> #P newex 400 295 47 196617 * 30.51;
> #P newex 210 612 41 196617 * 125.;
> #P newex 194 540 47 196617 * 60.48;
> #P newex 154 401 77 196617 * 149.600006;
> #P newex 193 296 47 196617 * 22.58;
> #N vpatcher 132 115 1088 352;
> #P inlet 913 24 15 0;
> #P window setfont "Sans Serif" 9.;
> #P window linecount 0;
> #P newex 817 49 35 196617 * 75.;
> #P newex 683 47 35 196617 * 80.;
> #P newex 557 47 35 196617 * 69.;
> #P newex 431 47 35 196617 * 25.;
> #P newex 305 47 35 196617 * 50.;
> #P newex 179 47 41 196617 * 160.;
> #P newex 53 47 41 196617 * 110.;
> #P window linecount 1;
> #P newex 276 124 40 196617 *~ -1.;
> #P newex 790 93 117 196617 comb~ 200. 75. 0. 1. 0.;
> #P newex 654 93 117 196617 comb~ 200. 80. 0. 1. 0.;
> #P newex 528 93 117 196617 comb~ 200. 69. 0. 1. 0.;
> #P newex 408 92 117 196617 comb~ 100. 25. 0. 1. 0.;
> #P newex 276 93 117 196617 comb~ 200. 50. 0. 1. 0.;
> #P newex 152 93 123 196617 comb~ 300. 160. 0. 1. 0.;
> #P newex 24 94 123 196617 comb~ 300. 110. 0. 1. 0.;
> #P newex 276 164 47 196617 *~ 0.15;
> #P inlet 408 72 15 0;
> #P inlet 790 73 15 0;
> #P inlet 276 73 15 0;
> #P inlet 654 73 15 0;
> #P inlet 528 73 15 0;
> #P inlet 24 74 15 0;
> #P inlet 150 73 15 0;
> #P outlet 276 191 15 0;
> #P connect 2 0 9 0;
> #P connect 17 0 9 1;
> #P connect 24 0 17 0;
> #P connect 1 0 10 0;
> #P connect 24 0 18 0;
> #P connect 18 0 10 1;
> #P connect 5 0 11 0;
> #P connect 15 0 16 0;
> #P connect 13 0 16 0;
> #P connect 14 0 16 0;
> #P connect 11 0 16 0;
> #P connect 12 0 8 0;
> #P connect 16 0 8 0;
> #P connect 10 0 8 0;
> #P connect 9 0 8 0;
> #P connect 8 0 0 0;
> #P connect 19 0 11 1;
> #P connect 24 0 19 0;
> #P connect 7 0 12 0;
> #P connect 24 0 20 0;
> #P connect 20 0 12 1;
> #P connect 3 0 13 0;
> #P connect 21 0 13 1;
> #P connect 24 0 21 0;
> #P connect 4 0 14 0;
> #P connect 22 0 14 1;
> #P connect 24 0 22 0;
> #P connect 6 0 15 0;
> #P connect 23 0 15 1;
> #P connect 24 0 23 0;
> #P pop;
> #P newobj 49 730 105 196617 p combineL;
> #N vpatcher 10 59 977 304;
> #P inlet 923 33 15 0;
> #P window setfont "Sans Serif" 9.;
> #P window linecount 1;
> #P newex 824 73 35 196617 * 52.;
> #P newex 693 73 35 196617 * 27.;
> #P newex 562 73 35 196617 * 35.;
> #P newex 431 73 29 196617 * 3.;
> #P newex 300 73 35 196617 * 55.;
> #P newex 169 73 41 196617 * 135.;
> #P window linecount 0;
> #P newex 38 73 41 196617 * 110.;
> #P newex 272 132 40 196617 *~ -1.;
> #P newex 784 107 117 196617 comb~ 200. 50. 0. 1. 0.;
> #P newex 650 107 117 196617 comb~ 100. 25. 0. 1. 0.;
> #P newex 520 107 117 196617 comb~ 100. 35. 0. 1. 0.;
> #P newex 404 107 111 196617 comb~ 100. 3. 0. 1. 0.;
> #P newex 272 107 117 196617 comb~ 200. 55. 0. 1. 0.;
> #P newex 141 107 123 196617 comb~ 300. 135. 0. 1. 0.;
> #P newex 10 108 123 196617 comb~ 300. 110. 0. 1. 0.;
> #P newex 272 166 47 196617 *~ 0.15;
> #P inlet 404 87 15 0;
> #P inlet 784 87 15 0;
> #P inlet 272 87 15 0;
> #P inlet 650 87 15 0;
> #P inlet 520 87 15 0;
> #P inlet 10 88 15 0;
> #P inlet 141 87 15 0;
> #P outlet 272 197 15 0;
> #P connect 2 0 9 0;
> #P connect 24 0 17 0;
> #P connect 17 0 9 1;
> #P connect 1 0 10 0;
> #P connect 24 0 18 0;
> #P connect 18 0 10 1;
> #P connect 5 0 11 0;
> #P connect 15 0 16 0;
> #P connect 11 0 16 0;
> #P connect 13 0 16 0;
> #P connect 14 0 16 0;
> #P connect 16 0 8 0;
> #P connect 12 0 8 0;
> #P connect 9 0 8 0;
> #P connect 10 0 8 0;
> #P connect 8 0 0 0;
> #P connect 19 0 11 1;
> #P connect 24 0 19 0;
> #P connect 7 0 12 0;
> #P connect 20 0 12 1;
> #P connect 24 0 20 0;
> #P connect 3 0 13 0;
> #P connect 21 0 13 1;
> #P connect 24 0 21 0;
> #P connect 4 0 14 0;
> #P connect 22 0 14 1;
> #P connect 24 0 22 0;
> #P connect 6 0 15 0;
> #P connect 23 0 15 1;
> #P connect 24 0 23 0;
> #P pop;
> #P newobj 497 735 105 196617 p combineR;
> #P newex 418 380 39 196617 noise~;
> #P newex 206 379 39 196617 noise~;
> #P newex 207 423 41 196617 *~ 20.;
> #P newex 206 401 78 196617 lores~ 0 0.995;
> #P newex 417 422 41 196617 *~ 20.;
> #P newex 418 401 78 196617 lores~ 0 0.995;
> #P newex 236 73 111 196617 zmap 0. 127. 0.05 0.9;
> #P newex 348 638 104 196617 tapout~ 106.279999;
> #P newex 348 614 65 196617 tapin~ 1000;
> #P newex 141 638 68 196617 tapout~ 125.;
> #P newex 141 612 65 196617 tapin~ 1000;
> #P newex 348 563 140 196617 allpass~ 200 89.239998 0.5;
> #P newex 141 563 116 196617 allpass~ 200 60.48 0.5;
> #P newex 141 540 41 196617 *~ 0.5;
> #P newex 348 540 41 196617 *~ 0.5;
> #P newex 141 495 93 196617 onepole~ 1800 Hz.;
> #P newex 358 71 120 196617 zmap 0 127. 20. 12000.;
> #P newex 348 495 93 196617 onepole~ 1800 Hz.;
> #P newex 348 451 165 196617 comb~ 1000. 141.699997 0. 1. 0.;
> #P newex 141 450 165 196617 comb~ 1000. 149.600006 0. 1. 0.;
> #P newex 348 317 115 196617 allpass~ 50 30.51 -0.7;
> #P newex 141 316 115 196617 allpass~ 50 22.58 -0.7;
> #P newex 141 250 110 196617 allpass~ 20 9.3 0.625;
> #P newex 141 224 122 196617 allpass~ 20 12.73 0.625;
> #P newex 141 200 110 196617 allpass~ 10 3.58 0.75;
> #P newex 141 175 110 196617 allpass~ 10 4.76 0.75;
> #P newex 141 151 93 196617 onepole~ 1800 Hz.;
> #N comlet out R;
> #P outlet 497 764 15 0;
> #N comlet out L;
> #P outlet 49 762 15 0;
> #P comment 80 763 401 196617 Plate reverb , in the style of
> Griesinger , via J Dattorro. Randy Jones rej@2uptech.com;
> #P fasten 8 0 31 0 146 344 54 344;
> #P connect 31 0 1 0;
> #P fasten 8 0 31 1 146 344 67 344;
> #P fasten 17 0 31 2 146 590 80 590;
> #P fasten 20 0 31 3 146 678 93 678;
> #P fasten 11 0 31 4 353 477 106 477;
> #P connect 47 0 46 0;
> #P connect 46 0 45 0;
> #P fasten 18 0 31 5 353 585 119 585;
> #P fasten 22 0 31 6 353 714 132 714;
> #P fasten 43 0 31 7 593 725 145 725;
> #P fasten 48 0 3 0 19 140 146 140;
> #P connect 3 0 4 0;
> #P connect 4 0 5 0;
> #P connect 5 0 6 0;
> #P connect 6 0 7 0;
> #P fasten 22 0 8 0 353 662 28 662 28 293 146 293;
> #P lcolor 7;
> #P connect 7 0 8 0;
> #P connect 8 0 10 0;
> #P connect 10 0 14 0;
> #P connect 14 0 16 0;
> #P connect 16 0 17 0;
> #P connect 17 0 19 0;
> #P connect 19 0 20 0;
> #P connect 35 0 20 0;
> #P fasten 41 0 33 0 304 372 159 372;
> #P connect 33 0 42 0;
> #P fasten 55 0 16 1 293 520 177 520;
> #P fasten 42 0 10 1 159 444 184 444;
> #P fasten 27 0 10 1 212 444 184 444;
> #P fasten 41 0 32 0 304 290 198 290;
> #P connect 32 0 8 1;
> #P fasten 41 0 34 0 304 527 199 527;
> #P connect 34 0 17 1;
> #P connect 28 0 26 0;
> #P connect 26 0 27 0;
> #P fasten 41 0 35 0 304 597 215 597;
> #P connect 13 0 3 1;
> #P fasten 56 0 14 1 316 484 229 484;
> #P connect 50 0 49 0;
> #P connect 49 0 23 0;
> #P connect 23 0 55 0;
> #P fasten 45 0 41 0 110 98 304 98;
> #P connect 13 0 56 0;
> #P fasten 20 0 9 0 146 670 19 670 19 285 353 285;
> #P lcolor 7;
> #P fasten 7 0 9 0 146 272 353 272;
> #P connect 9 0 11 0;
> #P connect 11 0 12 0;
> #P connect 12 0 15 0;
> #P connect 15 0 18 0;
> #P connect 18 0 21 0;
> #P connect 21 0 22 0;
> #P connect 40 0 22 0;
> #P connect 52 0 51 0;
> #P connect 51 0 13 0;
> #P fasten 41 0 37 0 304 377 371 377;
> #P connect 37 0 38 0;
> #P fasten 55 0 15 1 293 520 384 520;
> #P fasten 25 0 11 1 422 444 391 444;
> #P fasten 38 0 11 1 371 445 391 445;
> #P fasten 41 0 36 0 304 291 405 291;
> #P connect 36 0 9 1;
> #P fasten 41 0 39 0 304 527 406 527;
> #P connect 39 0 18 1;
> #P connect 24 0 25 0;
> #P connect 29 0 24 0;
> #P fasten 41 0 40 0 304 599 424 599;
> #P fasten 56 0 12 1 316 484 436 484;
> #P connect 54 0 53 0;
> #P connect 53 0 57 0;
> #P fasten 9 0 30 0 353 343 502 343;
> #P connect 30 0 2 0;
> #P fasten 9 0 30 1 353 343 515 343;
> #P fasten 18 0 30 2 353 594 528 594;
> #P fasten 22 0 30 3 353 691 541 691;
> #P fasten 10 0 30 4 146 473 554 473;
> #P fasten 17 0 30 5 146 604 567 604;
> #P fasten 20 0 30 6 146 706 580 706;
> #P fasten 57 0 44 0 492 272 593 272;
> #P fasten 41 0 43 0 304 702 593 702;
> #P connect 44 0 43 0;
> #P connect 43 0 30 7;
> #P connect 44 1 43 1;
> #P pop;
>
>
----------------------------------------------------
> Any ideas on how I would go about turning
> this into a large hall reverb, vs. plate?
> The reverb time (bottom number box) seems
> to max out too soon for my taste, but I can't
> quite figure out what I need to add or tweak
> to change this.
this is why reverb models always should contain a feedback
loop, as one gent above suggested.
a feedback volume of 1.0 will give you infinite reverb time
when neccesary.
-110 110 IIO IIO iio iio ,,, ,,, ... ... _ _
Roman Thilenius skrev:
>> Any ideas on how I would go about turning
>> this into a large hall reverb, vs. plate?
>> The reverb time (bottom number box) seems
>> to max out too soon for my taste, but I can't
>> quite figure out what I need to add or tweak
>> to change this.
>>
> this is why reverb models always should contain a feedback
> loop, as one gent above suggested.
>
> a feedback volume of 1.0 will give you infinite reverb time
> when neccesary.
- my personal approach is:
Performance patches should always be one large feedback loop so as to
compensate for effects that don't have one themselves.
Andreas.
Any ideas on how I would go about turning this into a large hall reverb, vs. plate? The reverb time (bottom number box) seems to max out too soon for my taste, but I can't quite figure out what I need to add or tweak to change this.
What you see in the AES Papers//Dattorro is only the half truth.
He discribe a very small Plate Algo for experimental use.
And this Algo is for embedded use, all the sample values are not
very usefull.They have different Allpass Filters(Nodes).
Plate,Hall,Rooms etc... are different Algos and much bigger as the
the Dattorro one.The important instance for the Sound are the output taps.
greetz...am
Tweaking the values of the output tabs definitely produces some interesting results...though, it's like adding delay to a plate reverb still (no surprise). I've been messsing with the allpass arguments as well, going back to the origial yafr reverb design, but no radical changes, just subtle changes in output. I'm going to make some more radical mods to the patch later tonight.
Kris
With my limited knowledge of this patch and its inner workings, this is about the best I could do in getting it to sound like a larger room reverb. I borrowed a few elements from yafr, but I don't quite understand yet why I can get yafr to have a large decay, but not this reverb patch. I'm still comparing the two and tweaking values.
In contrast, I still like the sound of the yafr reverb, below.
Kris
In your first example is no recirculation feedback
thats the reason.
greetz... am.
So the tapout circulating back through the all pass filters at the top (as is the case now) doesn't cut it?
Can you modify the the code so that I can see how you would do it? I know Stefan suggested this too, but I didn't see it applied to the actual patcher. Thanks.
Kirs
it`s very simple.
put a *~object in the tank and scale it to 0-0.99 that`s it.
greetz...am
Hi all
I am quite interested in making a version of the Griesinger/lexicon reverb
I realise there are versions of this further up the thread but I'd like to know the theory and ideally reference a document that details how this reverb is made step by step.
Unfortunately I only have access to Roads' CMT which doesn't go in to Griesinger's reverb model
Does anybody know if there is a version of this online?
There is a diagram here but it doesn't tell me enough
bump
@mikes
I got interested in the Griesinger reverb notes on dsp-wiki and had a go at reverse engineering the yafr2 so I could understand it and have a go at implementing the diagram. This is what I came up with.
comparison.maxpat
crxverb.maxpat
yafr2_notes.maxpat
Anybody have something else?
It seems every reverb is a modified version of the same patch.
Anybody have something simpler, maybe more granular based.
Or hybrid reverb+phaser+pitchshifter or something
Cheers!
Hi,
I thought I would bump this thread since last entry was 2009. Anyone have a reverb they like with stereo input and stereo output?
thanks, Nick