The classic Lexicon 224 used a version of stfb for their reverb designs, as alluded to in “Effect Design Part One” by Dattorro. And, it can sound really good. Let me demonstrate with the beta of MTurboReverb I am using to develop presets. Let’s have only one active module, LR1, and let’s put this topology in it:MeldaProduction wrote:serial taps are probably the worst things imho, these are really parts of the ancient design and the reason was probably mainly the efficient implementation, not audio quality. Though, maybe they just experimented with it.
7b[a];stfb[#[b[v(0.1)];fl;fh;a;b[swap]]];
This is a reasonable approximation of the classic algorithms from the 224 which gave us the reverb in, among many other things, the legendary introduction to “Blade Runner.” For best results, I set “size” to 15%, “Delay Max” to 33.3%, and length is 500ms. Complexity is 32 to minimize ringing and metallic resonances (yes, David Griesinger was able to reduce ringing with fewer nodes by carefully hand tuning all of the allpass filters and delay times, but here in 2017, we’ll just brute force it)
How does it sound? Very ethereal with long decays. Let me arpeggiate a C chord through this reverb, starting off dry and fading in the reverb:
https://soundcloud.com/caulixtla/circle ... urboreverb
It’s called a “Circle 8” reverb because the first published version of this algorithm (in “Effect Design Part One”) looks like a Circle 8 in the diagram.
... I still played with some modules and mainly tweaked the other designer values, which are also great for sculpting the sound. So I assume that even with these values you can change the reverb a lot already.
