ValhallaVintageVerb 1.7.1. Two new reverb modes (Chaotic Hall, Chaotic Chamber)

[hibidy]

Edited.

Beta HiFi, I always got excited when I saw that.

[bill45]

ther was a Logans run series

[hibidy]

I remember that there was one, I don't remember "it" though. Was it really bad like POTA the series?

[antithesist]

Man, this (these) is (are) very nice. I've been going through a bout of reverb-mania, and put VVV through more paces than I had originally, especially now with Sanctuary. I seem to be fresh out of flowery prose and technical observations, but I think a simple "nice" goes along with the pleasure of the experience.

Speaking of sanctuary, you all forced me into a proper google/wiki/imdb/youtube free fall. I didn't even remember the series, but I've seen a good chunk of an episode and a short skirt montage now: goofy 70s dystopian TV sci-fi at its finest. Heck, I may even look for the '67 novel.

To the movie: not really my cup of whatever they drink in that dated future, though I always have to give a nod to any "film" with a Jerry Goldsmith score, especially science fiction. While the themes are not up to snuff with "Alien," or the echoplex trumpet in "Patton," it is pretty darn "nice."

Edit: Oh, oh, oh, I almost forgot. The death at thirty thing reminded me that I need to try to find "Wild in the Streets." I don't remember much about it, and they may not have actually been killing their elders, but I think they were at least forced to take LSD in reeducation camps. Anyway.

[valhallasound]

Man, this (these) is (are) very nice. I've been going through a bout of reverb-mania, and put VVV through more paces than I had originally, especially now with Sanctuary. I seem to be fresh out of flowery prose and technical observations, but I think a simple "nice" goes along with the pleasure of the experience.

I'm glad you are liking Sanctuary. It is honestly the "loosest" reverb algorithm I have done in many a year. The internal structure is pretty simple, and there are some weird artifacts when you turn up the Size, but I decided not to keep tinkering with the thing. I'm interested in exploring more "character" algorithms with future releases of VVV.

To the movie: not really my cup of whatever they drink in that dated future, though I always have to give a nod to any "film" with a Jerry Goldsmith score, especially science fiction. While the themes are not up to snuff with "Alien," or the echoplex trumpet in "Patton," it is pretty darn "nice."

The synth work in "Logan's Run" is pretty awesome. Honestly, though, there weren't many synths from that time period that made a bad sound. Take your ARP/Moog/Roland, stick it through an Echoplex, and I'm a happy camper.

Edit: Oh, oh, oh, I almost forgot. The death at thirty thing reminded me that I need to try to find "Wild in the Streets." I don't remember much about it, and they may not have actually been killing their elders, but I think they were at least forced to take LSD in reeducation camps. Anyway.

Not really related to VeeThree or 1970s science fiction or even that closely to "Wild in the Streets," but here's a great scene from "The Wild Angels" as sampled by Mudhoney:



The opening sequence of "The Wild Angels" is pretty amazing as well:



Fuzz guitar, Peter Fonda on a motorcycle, and some kinda dumpy suburban houses that turn out to be along the canals in Venice, California. I visited that area last year, and let's just say that the Venice canals aren't really "dumpy suburban" anymore (those little bungalows would be worth several million dollars today).

Sean Costello

[Notron User]

Not really related to VeeThree or 1970s science fiction or even that closely to "Wild in the Streets," but here's a great scene from "The Wild Angels" as sampled by Mudhoney:



The opening sequence of "The Wild Angels" is pretty amazing as well:



Fuzz guitar, Peter Fonda on a motorcycle, and some kinda dumpy suburban houses that turn out to be along the canals in Venice, California. I visited that area last year, and let's just say that the Venice canals aren't really "dumpy suburban" anymore (those little bungalows would be worth several million dollars today).

Sean Costello

Hmmm. I remember Primal Scream's song 'Loaded.' Did Mudhoney sample this scene or get their name from "The Wild Angels?"

[valhallasound]

Hmmm. I remember Primal Scream's song 'Loaded.' Did Mudhoney sample this scene or get their name from "The Wild Angels?"

Apparently Mudhoney used the Peter Fonda speech first, in late 1988:



Mudhoney's name came from the Russ Meyer's film of the same name.

Sean Costello

[antithesist]

"We are jolly green giants, walking the earth with [reverb] guns."

- Full Metal [Reverb] Jacket

VVV Sanctuary and my own special concoction for VUM (not that special probably for anyone but me) are my favorites right now. I'm off to the races. Er, well, I would be if there were any.

Oh, I think Jerry Goldsmith's synth of choice was the ARP 2600, maybe for "Logan's Run?" I believe there was one score that used several to many. OK, doughnuts in the parking lot, anyone?

[antithesist]

That got me thinking about FMJ. Well, that and I was watching parts of it in something wider than 16:9 and listening on my 2.1 mastering setup the other day, when it was on some premium channel free preview. But, I digress. I believe Vivian Kubrick (SK's daughter) did the score under the pseudonym: Abigail Mead. She also played Heywood Floyd's daughter as a child in "2001." Remember the video call from the space station or wherever? Anyway, I like the soundtrack a lot, and have it on CD around here somewhere.

Here's finally the reverb tie-in. I'm one of those geeks who sits through the credits. When I originally saw FMJ in the theater, two logos jumped out at me toward the end of the credits: Fairlight and Lexicon. This was at a time when those would have only been for the CMI and digital reverb. Cool, huh? I'm killing time waiting for some personal news. There it is: "something wonderful is going to happen... all these worlds are yours except Europa, attempt no landing there." No, that's not really it, still waiting. How's 'bout that VVV?

[hibidy]

Remember the video call from the space station or wherever?

One of the coolest scenes in film history. Of course, that film has MANY of those.

[valhallasound]

When I originally saw FMJ in the theater, two logos jumped out at me toward the end of the credits: Fairlight and Lexicon. This was at a time when those would have only been for the CMI and digital reverb. Cool, huh?

My guess is that the Lexicon being thanked wasn't a reverb. Instead, the movie probably made heavy use of the 2400 Stereo Time Compressor:

https://ccrma.stanford.edu/~dattorro/Lexicon.htm

The 2400, and the 1200CMS that proceeded it, were essentially high quality pitch shifters, with special interfaces to time code. The idea is that you could speed up or slow down an audio track, without changing the pitch. Very important for commercials (i.e. fitting a bunch of words into 30 seconds), but also useful for all sorts of experimental stuff.

The Eventide H3000 had some optional boards that allowed for time code sync, or something like that. The details are sketchy, as I don't work in broadcast, and pretty much any DAW can handle this now. Still, Lexicon's pitch shifting was always high quality. I'm not sure why it never got the attention that Eventide did for their pitch shifting.

How's 'bout that VVV?

From my perspective, it's going good. Stable. I have yet to write any blog posts about it. Probably because it is fairly self explanatory. Something like ÜberMod needs lots of explanation. VintageVerb, on the other hand, falls on the simple side of reverbs. I'll want to explore the "simple" direction more in the future.

Sean Costello

[antithesist]

Remember the video call from the space station or wherever?

One of the coolest scenes in film history. Of course, that film has MANY of those.

I only remember the one video phone call. No, i get it: coolest scenes in film history, to be sure.

[hibidy]

Remember the video call from the space station or wherever?

One of the coolest scenes in film history. Of course, that film has MANY of those.

I only remember the one video phone call. No, i get it: coolest scenes in film history, to be sure.

The station "spin" was captured in the scene. I get excited about the little things

[antithesist]

When I originally saw FMJ in the theater, two logos jumped out at me toward the end of the credits: Fairlight and Lexicon. This was at a time when those would have only been for the CMI and digital reverb. Cool, huh?

My guess is that the Lexicon being thanked wasn't a reverb. Instead, the movie probably made heavy use of the 2400 Stereo Time Compressor:

https://ccrma.stanford.edu/~dattorro/Lexicon.htm

The 2400, and the 1200CMS that proceeded it, were essentially high quality pitch shifters, with special interfaces to time code. The idea is that you could speed up or slow down an audio track, without changing the pitch. Very important for commercials (i.e. fitting a bunch of words into 30 seconds), but also useful for all sorts of experimental stuff.

The Eventide H3000 had some optional boards that allowed for time code sync, or something like that. The details are sketchy, as I don't work in broadcast, and pretty much any DAW can handle this now. Still, Lexicon's pitch shifting was always high quality. I'm not sure why it never got the attention that Eventide did for their pitch shifting.

How's 'bout that VVV?

From my perspective, it's going good. Stable. I have yet to write any blog posts about it. Probably because it is fairly self explanatory. Something like ÜberMod needs lots of explanation. VintageVerb, on the other hand, falls on the simple side of reverbs. I'll want to explore the "simple" direction more in the future.

Sean Costello

Thanks for crushing my nostalgia, man. Kidding, sort of. I hadn't considered time comp/ex. One of my most thrilling early studio tech moments was lashing up a 949 to an MCI 2-track so that two were essentially servoed together. Turn the varispeed up on the tape machine and the harmonizer pitched it back down, etc. I still think I hear 224 on a Fairlight on the soundtrack, though.

Anyway, I'm getting a lot of milage out all four Valhalla plug-ins that do reverb, each for different reasons. The simplicity of VS and VVV are nice, but I also like the complexity of VR and VUM. If you want really simple, I need a long delay along the lines (har) of the Lexicon Jam Man in delay mode, and a balanced modulator that can take the same signal to both inputs for that limited, but sometimes useful, octave effect.

I should be able to make both of those in Reaktor, though. I did figure out how to crank up the decay time on that Reaktor Quantec simulation (hint for VVV, that I'm sure isn't new). I may post some of my other simpler ideas to your forum. Back to VVV: I set up a thing last night where I thought I was live cross-fading from 70s to Now, etc. with two instances. It turned out I wasn't, but it sounded good. I need to see what it is doing.

[antithesist]

Remember the video call from the space station or wherever?

One of the coolest scenes in film history. Of course, that film has MANY of those.

I only remember the one video phone call. No, i get it: coolest scenes in film history, to be sure.

The station "spin" was captured in the scene. I get excited about the little things

Cool, I hadn't noticed that. At least, I don't remember noticing it. I like the scene with the sandwiches. When I was a kid, I thought maybe bread crusts were somehow dangerous in the Moon's low gravity.