MTurboReverb preset making action, let's make the ultimate reverb! ;)

[MeldaProduction]

Chandler, cool stuff! Btw. I also introduced the distance control, but I actually replaced Widening instead, since it changes that one too and saturation is independent .
As for Bricasti - I'm not sure how much one can believe about the realisticity. The more I listen to it, the less I actually like it and now it seems too far from realistic to me, so my guess is that it's part of the marketing. Anyways Bricasti is a layered reverb, meaning that there are several parallel reverbs. I'm far from close enough, I always get sidetracked by something that I like more... But anyways it seems to me that a mixture of something quite realistic CC/R/FDN with the delayed thingy derived from say AN[#AN[A]] will be the answer.

[Chandlerhimself]

@onerob @Soarer - Thanks. I'm glad you enjoyed the sounds. I tried to make something lush, but also versatile so it can be used on a variety of material.

@XComposer - You can set up an XY pad in MTR, that can act in the same way as the Earverb POS interface(it obviously won't look exactly the same because it is just a blank square). I was thinking about doing this, but in MTR you can't pan the dry signal, so I thought it would be a bit of a waste of time. I could however make something in MXXX or another plugin(currently in beta) that would allow you to do this. There isn't much clicking or suttering in MTR. Certain parameters that control delays will change pitch if you automate them, as expected, but almost everything else can be automated freely. Also, even though I didn't show it in the video, there are modulators in this so you could for example hook up the wet dry to an LFO or have the treble knob controlled by a step sequencer.

@MeldaProduction - Perhaps using the width control instead of the saturation would have been better, but I figured people looking for natural rooms/halls, wouldn't want to saturate the sound of their reverb, but who knows. Luckily, its easy to switch afterwards.
Also thank you for the hints on for the Bricasti. I'd like to try and see if I can come up with something similar. Parallel reverb sounds like it will take quite a bit of CPU, but I guess most other reverbs use more the MTR anyway, so I guess its no big deal. Also you can only use 1 bricasti at a time, so even a CPU monster is still more convenient. Do you know if the Bricasti has separate algos or is it just variations on 1 main algo?

[spencerlee]

Hey Vojtech
It looks like you are becoming a total reverb junkie. It actually takes over your life. You will have to call in the reverb detox doctor...
I don't think we will be able to get the Bricasti layers thing happening until you get your parallel switch in. I am finding it very difficult to know what I am doing with the different layers.
I think the Bricasti uses different algorithms for each layer. I don't think one layer is feeding into the next.
A lot of assumptions going on though. Just have to use our ears.
Spencer

[MeldaProduction]

Hehe yeah, I am , I hope I'll survive .
I'll get you a new version soon, but for now, we have to deal with what we have. It's just gain staging though, it's not such a big deal really.

[Batty]

There could be use for many more...like those hall verbs of David Bowies "let's Dance" - especially the special effect of the sax hits in the begin and throught the Song.
I'd like to contribute with preset making if that's ok.
I did code basic in the 80s on a C64 - so no problem with that :p.
I do sound old...

[Arrested Developer]

As for Bricasti - I'm not sure how much one can believe about the realisticity. The more I listen to it, the less I actually like it and now it seems too far from realistic to me, so my guess is that it's part of the marketing.

In my opinion the Bricasti is unsurpassed when used on orchestral instruments inside of scores with a high amount of synthetic sounds (i.e. hybrid scores).
It has an enormous density, gives a good sense of space but doesn't get muddy.
Have a closer look at some scores mixed by Alan Meyerson.

Having similar options ITB would be amazing...

[caulixtla]

Edit: Cauxiltha's algorithm 7b[a];stfb[#[b[v(0.1)];fl;fh;a;b[swap]]] works too, but it's sort of metallic.

It’s metallic sounding at low complexities because we’re, in the interest of brevity, making the delay and allpass coefficients random instead of carefully fine tuning them. It’s best as a creative effect for extra-long tails with a complexity of 32 or so.

The old Lexicons did, in fact, use nested allpasses, such as something like this:

a(0.7;3);a(0.7;11);a(0.7;8);stfb[#[a;b[an[a]];fl;b[an[a];d];fh;b[swap]];swap]

With a complexity of 3 and good luck after hitting “seed” countless times, I can get something that works well for a medium to large sized hall (two second decay or longer) or even as a small drum room (if I make “size” and “length” small enough, and hit seed repeatedly to minimize flutter and metallic resonances). As a rule of thumb, size needs to be tied to length: Small size + small length: Good small drum room (hit seed until it stops fluttering and/or having metallic resonances). Small size + long length: Cyclic sounding reverb tail (The PCM90 has the same issue with its “ambience” algorithm, which sounds like a real room at short decays, and a tremolo at longer decays). Big size + Short length: Weird “creative” effect. Big size + long length: Spaced out long decay (can sound cyclic, but, then again, long tails on the old PCM90, no matter which algorithm was used, also sounded cyclic).

A thought about the Bricasti: It’s probably going to take an overclocked Kaby Lake Core i7 to give the Bricasti sound justice. That device uses six dual core Blackfin processors.

[spencerlee]

Hey All
Mr Bricasti said in a youtube video that he uses 4 Late Reflections on every reverb.
I tried it by using,,
1. 480 Random Hall
2. Valhalla Shimmer
3. Lexicon Plate
4. And chorused Toraverb.
Same level out of each and out came a very dense great reverb.
Try something like that. We can do this in MTR. That is why I asked Vojtech if he could make a version of MTR where we can easily manage that.
Spencer

[MeldaProduction]

I got some preliminary success with the Sunset chamber from Bricasti, with just 2 LRs, doesn't take too much CPU either. It's not the same, but seems similar to me with the density, just the stereo field is different, which is expected. Anyways you'll have to wait a little for next beta with some of the new features.

[Chandlerhimself]

I'm excited about that. Even if it isn't exactly like a Bricasti, anything even close would be great. I'd like something like the Boston hall preset it has.

I'm hoping the next update will feature the ability to run the LRs in parallel. I wonder if something like a Quantec could be made that way. I'm looking forward to the new features.

[Ah_Dziz]

Will we be able to use this in MXXX when it gets released? I've got some cool plans for that if so. This is my new most favorite verb for special effects.

[anton_s]

When I hear "reverb", I immediately think of Enya - and I'm sure many other potential users feel the same way!

I would be very excited if MTurboReverb included presets to replicate whatever reverb Enya used. These would probably include "sustain" presets for the long, ethereal trails of sounds, as well as "ambience" presets. Different presets can be based on different songs or albums.

I am not sure which reverb unit was used on Enya's early album, The Celts, but a recent interview mentioned that

The distinctive Enya sound developed thanks to a digital reverb unit, the first Nicky Ryan had owned. "It was really dreadful reverb," he says; "but there was something in it, it was very dark, it gave this atmosphere to the sound that was impossible to get with a Lexicon [reverb unit] or something".

Enya's second album, Watermark, probably used an Alesis Midiverb, since another (much older) interview stated

Ryan likes the Alesis Midverb II. "They have a texture to them that the Lexicon doesn't have. There's compression built in. They really shouldn't have it there, but it is there, and it adds something. The reverb hasn't been built for us yet, neither in length nor the sound we want."

In later albums, they may have used other reverbs, since to quote from yet another (old) interview:

"Vocal harmonies are at the centre of what we do, absolutely – and I use a phenomenal amount of reverb on the sound. In fact, I still don’t think there’s enough. A company called Lexicon have finally come up with a reverb I might use from now on, the 4ADL, and both the Alesis Company and Roland have developed some amazing equipment. In fact I might use a combination of all three of those for the next LP. I guess we’ll all have to wait and see what happens.’

[Chandlerhimself]

Has anyone else been working with ERs. Since a few people requested a way to position things using an XY pad type of thing, I decided to try it a dug into the ER section of MTR. I think I have something that sounds alright, but I'm a bit worried about metallic sounds. Any tips. More delay taps, less, delay taps, more decay, etc. Vojtech, is there anyway we could get a lowpass filter for the ER section? To be honest its not that bad in actual useage, but the more I do this, the more small sounds start to bother me.

Anyway, I found a new algo that sounds pretty good, so hopefully I can turn this into a preset. I'll try to post clips soon.

[Batty]

Will it be possible to place a hall like with five distinctive halls, where two hall events are for example a half second apart, two maybe 2 seconds and the last one, one second apart?
Maybe there could be 5 of them manually placeable.
(unlike the usual halls: always with the same timespace).

[Tagirijus]

Has anyone else been working with ERs.

I played with it a bit and found out that it's good (to my taste) to have quite less reflections (around 10). And with modulation turned off and only using the ER engine (for positioning for example) it even is 600% faster than using ER in MReverb only.