What are your favorite non-Valhalla reverbs, and why?
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PRODUCTS AriesVerb - Feedback Delay Network Processor ArtsAcoustic Reverb B2 EMT 140 Classic Plate Reverberator EMT 250 Classic Electronic Reverberator ERS 250 Exponential Audio: PhoenixVerb Exponential Audio: R2 GlaceVerb Lexicon 224 Digital Reverb MReverb MReverbMB Oxford Reverb Reflect REFLEX free Reverb.it RoomVerb M1 RoomVerb M2 Sparkverb TSAR-1 True Stereo Algorithmic Reverb TSAR-1R True Stereo Algorithmic Reverb
PRODUCTS AriesVerb - Feedback Delay Network Processor ArtsAcoustic Reverb B2 EMT 140 Classic Plate Reverberator EMT 250 Classic Electronic Reverberator ERS 250 Exponential Audio: PhoenixVerb Exponential Audio: R2 GlaceVerb Lexicon 224 Digital Reverb MReverb MReverbMB Oxford Reverb Reflect REFLEX free Reverb.it RoomVerb M1 RoomVerb M2 Sparkverb TSAR-1 True Stereo Algorithmic Reverb TSAR-1R True Stereo Algorithmic Reverb
- KVRAF
- Topic Starter
- 3426 posts since 15 Nov, 2006 from Pacific NW
Fleet Foxes.
http://www.youtube.com/watch?v=DrQRS40OKNE
EMT-140. The real thing, not a digital simulation.
Sean Costello
http://www.youtube.com/watch?v=DrQRS40OKNE
EMT-140. The real thing, not a digital simulation.
Sean Costello
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Sampleconstruct Sampleconstruct https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=191286
- KVRAF
- 16147 posts since 12 Oct, 2008 from Here and there
The most beautiful reverb experience I had in the Cologne Cathedral when I was about 18 - at that time I used to carry my soprano sax with me when going to Discos and Clubs, improvising along with the music played by the DJs. So after one of those drunken/stoned nights I went to the cathedral early in the morning together with some homeys and had a long impro session until some guards came to chase us away. Playing in that vast space was just amazing, you could build chords with your own playing as the reverb lingered around for so long.
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- KVRian
- 1400 posts since 9 Feb, 2012
That's very cool about the RMX-16. What were your impressions of the different algorithms? I've used and played a little with some years ago. In big studios, they seemed to always be set to NONLIN2, but I think often went unused most of the time, at least after the 80's. It could add some life to the typical Simmons set, though. I also seem to remember an ambience algorithm that was nice. I ran across this tidbit in a Ken Bodganowicz interview:
"I also did probably the first ever emulation plug-in, an AMS RMX-16 nonlin reverb simulation for the SP2016. It came on an EPROM chip."
www.audionewsroom.net/2008/09/off-record-soundtoys.html
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"I also did probably the first ever emulation plug-in, an AMS RMX-16 nonlin reverb simulation for the SP2016. It came on an EPROM chip."
www.audionewsroom.net/2008/09/off-record-soundtoys.html
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- KVRAF
- Topic Starter
- 3426 posts since 15 Nov, 2006 from Pacific NW
The Nonlin2 sounded great on snare drum. The unit we tested didn't have Nonlin1, which is too bad, as apparently that algorithm is eminently reverse-engineerable. The unit we tested did have Reverse, which probably has a similar structure to Nonlin1. It also slewed heavily to the left, as did the Room algorithm.antithesist wrote:That's very cool about the RMX-16. What were your impressions of the different algorithms? I've used and played a little with some years ago. In big studios, they seemed to always be set to NONLIN2, but I think often went unused most of the time, at least after the 80's. It could add some life to the typical Simmons set, though. I also seem to remember an ambience algorithm that was nice. I ran across this tidbit in a Ken Bodganowicz interview:
"I also did probably the first ever emulation plug-in, an AMS RMX-16 nonlin reverb simulation for the SP2016. It came on an EPROM chip."
www.audionewsroom.net/2008/09/off-record-soundtoys.html
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The Hall, Plate and Ambience algorithms were all very nice. The Hall was fairly sparse, but still generated a big spatial impression. Ambience sounded really metallic to me, and had some strong repetition patterns, but sounded really nice in the mix.
Sean Costello
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- KVRian
- 1400 posts since 9 Feb, 2012
Edit: Oops, I just now went back and read the rules. Like my next lot neighbor said, "look buddy, I didn't get this here fancy trailer, uh... mobile home, by follerin' no dang rules."
Favorite reverb: Lexicon 224
Favorite experience: scaring drummers with it
Seriously though, a good reverb like that can inspire performance. It can be an invaluable tracking aid and can really allow musicians to hear themselves better.
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Favorite reverb: Lexicon 224
Favorite experience: scaring drummers with it
Seriously though, a good reverb like that can inspire performance. It can be an invaluable tracking aid and can really allow musicians to hear themselves better.
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Last edited by antithesist on Wed May 02, 2012 9:05 pm, edited 2 times in total.
- KVRAF
- 3879 posts since 28 Jun, 2009 from Wherever I lay my hat
Not a lot of talk about plugins... I like Aether a lot, because it's got an unobtrusiveness that I find very charming. This is such a versatile plugin, though, that it's hard to point to anything in particular. It can stick to your sound without adding that obvious Lexiconesque sheen, which I somehow always equate with bad 80s Top 40 music. It can add queer and wonderful resonances to your material, making it an obvious sound design tool.
It's more ethereal than thick, as the name says. It can sound very far off, or it can sit right inside your ear. And while the nature settings do not at all sound like something recorded in nature, I do love them for their weird repercussions and colours.
It can be made to sound like a synth almost, and that's exactly what I do sometimes - stick any sound through it to get a constantly moving, lugubrious or joyous pad.
It's more ethereal than thick, as the name says. It can sound very far off, or it can sit right inside your ear. And while the nature settings do not at all sound like something recorded in nature, I do love them for their weird repercussions and colours.
It can be made to sound like a synth almost, and that's exactly what I do sometimes - stick any sound through it to get a constantly moving, lugubrious or joyous pad.
- KVRAF
- 3879 posts since 28 Jun, 2009 from Wherever I lay my hat
Copping out of the "real world" part, I'd say that I usually pay close attention to reverberation "out there", and... well, I like 'em all! I like going down the stairs to the subway (underground for ye Brits), I like big cathedrals and small, stuffy chapels. I like wooden rooms, and I like stone rooms. My office has a 4.5 meter high ceiling and an industrial-strength rug, which makes for a queer mix of boom and stifle (I've got a deep voice). I like an anechoic chamber (i.e., the reverb of the inside of your skull, it feels like), and I love running through a tight cement tunnel. The sound of a woman in high heels walking through a parking garage, the squeal of tires and the rumble of starting engines. I like the sound of me talking into my acoustic guitar's body, and I love sounding my barbaric yawp down a hillside in Burgundy and hearing the drawn-out echoes.
So, there's too many favourites to count, I guess.
So, there's too many favourites to count, I guess.
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- KVRian
- 652 posts since 17 Mar, 2002 from Paris
I think that's the place they used, to record the announcements of arrivals at my local train stationvalhallasound wrote:From the first Paul Horn recording inside the Taj Mahal:fateamenabletochange wrote:The Taj Mahal was an awesome experience, even though I was prepared having previously listened to Paul Horn recordings. Reflections going on and on with such clarity. The surfaces are very hard but smooth, some curved and some very angular. There were kind of dividing partitions that were thick stone lattice, designed I guess to let light in.
http://www.youtube.com/watch?v=98-SNlApA-o
I have this on scratchy vinyl.
Sean Costello
The first time I remember really noticing the effect of a reverb, was when, as a kid, I had access to the Blüthner grand piano at my local community hall, and remember being fascinated by the return of the sound back from the empty room to the stage. (It was a rather "cubic" shaped room, lots of wood, about a 500-seater).
I did get a life,once...but it was faulty, so I sent it back.
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- KVRAF
- 3477 posts since 27 Dec, 2002 from North East England
Yes! Such great sonics in that scene. SKREEEEEEEE (silence) SKREEEEEvalhallasound wrote:Sounds like a reverb version of Danny's Big Wheel ride through the Overlook Hotel.cron wrote:Walking down the Harringay Passage in Haringey, London N8/N4. It's a tight little passage that cuts through the long streets on the Harringay Ladder, running about a mile in length. The reverb in there is a gorgeous ring, almost comb filteresque, with a surprisingly long decay. Walking through it at night is weirdly terrifying, as it's a mugger and crackheads' paradise. The feelings of unease are magnified by that reverb. 15 seconds of ringing footsteps, cross the open street, 15 seconds of ringing footsteps, cross the open street, repeat.
- KVRAF
- 3540 posts since 1 Oct, 2006 from Um! Where is this?
This probably isn't really a reverb,more of an ambience.
But if you go deep into a forest,real deep in among the trees,how would you get that effect?
Strange I know,but if you live near a forest give it a try.
Ok I admit it i'm mad
But if you go deep into a forest,real deep in among the trees,how would you get that effect?
Strange I know,but if you live near a forest give it a try.
Ok I admit it i'm mad
- KVRAF
- Topic Starter
- 3426 posts since 15 Nov, 2006 from Pacific NW
There have been a couple of forest reverb posts. A few thoughts:Resonator63 wrote:This probably isn't really a reverb,more of an ambience.
But if you go deep into a forest,real deep in among the trees,how would you get that effect?
Strange I know,but if you live near a forest give it a try.
Ok I admit it i'm mad
- A tree is going to have VERY diffuse reflections. In other words, a sound hits it, and it is going to bounce in all directions.
- Odds are good that the high frequencies will be very damped, due to the nature of bark, leaves, needles, etc.
- Unlike a room, which is almost all reflecting surfaces (except for open windows), a forest is mostly empty space. So a sound that bounces off of a tree in a given direction only has a certain % chance of bouncing off another tree before it dies out to inaudibility, and a much lower chance of bouncing towards a listener.
To me, this suggests a feedforward algorithm, as opposed to a feedback algorithm. A feedforward algorithm with sparse diffuse reflections, extending over several seconds, is probably best realized by convolution.
Googling "forest reverberation" yielded a few interesting links:
http://blog.nutaksas.com/2008/07/forest ... model.html - MATLAB script for generating an impulse response of an imaginary forest, where the trees are represented by cylinders.
Kyle Spratt did some work on forest reverberation while getting the MST degree at CCRMA, but I can't find any publicly available links to his work.
Sean Costello
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- KVRAF
- 1591 posts since 15 Aug, 2003 from Indianapolis
Playing by the rules here, so a new post.
Not my favorite reverb, by a long shot, but an interesting one nonetheless: I used to work in a music store that had a small room jampacked with cymbals mounted in playing position. It was like being inside a plate reverb. Obviously, extremely metallic.
Not my favorite reverb, by a long shot, but an interesting one nonetheless: I used to work in a music store that had a small room jampacked with cymbals mounted in playing position. It was like being inside a plate reverb. Obviously, extremely metallic.
- KVRAF
- Topic Starter
- 3426 posts since 15 Nov, 2006 from Pacific NW
Bad reverb: Any concert heard at the Kingdome, which was the old multipurpose stadium in Seattle from 1976 to 2000 (I forget the exact dates of building and destruction). That building had about a 20 second reverb time. Hearing Eddie Van Halen doing "Eruption" in that building produced a hilarious smear of undifferentiated note energy, as about 200 Tinkerbell guitar notes at a time would be blended into a single sound.
Sean Costello
Sean Costello
- KVRAF
- 3540 posts since 1 Oct, 2006 from Um! Where is this?
Wow!!! Thanks for that Sean, i'll take a lookvalhallasound wrote:There have been a couple of forest reverb posts. A few thoughts:Resonator63 wrote:This probably isn't really a reverb,more of an ambience.
But if you go deep into a forest,real deep in among the trees,how would you get that effect?
Strange I know,but if you live near a forest give it a try.
Ok I admit it i'm mad
- A tree is going to have VERY diffuse reflections. In other words, a sound hits it, and it is going to bounce in all directions.
- Odds are good that the high frequencies will be very damped, due to the nature of bark, leaves, needles, etc.
- Unlike a room, which is almost all reflecting surfaces (except for open windows), a forest is mostly empty space. So a sound that bounces off of a tree in a given direction only has a certain % chance of bouncing off another tree before it dies out to inaudibility, and a much lower chance of bouncing towards a listener.
To me, this suggests a feedforward algorithm, as opposed to a feedback algorithm. A feedforward algorithm with sparse diffuse reflections, extending over several seconds, is probably best realized by convolution.
Googling "forest reverberation" yielded a few interesting links:
http://blog.nutaksas.com/2008/07/forest ... model.html - MATLAB script for generating an impulse response of an imaginary forest, where the trees are represented by cylinders.
Kyle Spratt did some work on forest reverberation while getting the MST degree at CCRMA, but I can't find any publicly available links to his work.
Sean Costello