[sdiy] Cheapest good sounding digital reverb?

[Ben Stuyts]

I just remembered the blog from Sean Costello from ValhallaDSP, for example:

https://valhalladsp.com/2017/06/01/minimalism-algorithm-design/ <https://valhalladsp.com/2017/06/01/minimalism-algorithm-design/>
https://valhalladsp.com/2009/07/30/modulation-in-reverbs-reality-and-unreality/ <https://valhalladsp.com/2009/07/30/modulation-in-reverbs-reality-and-unreality/>

Lots of interesting articles there: https://valhalladsp.com/category/tech-talk/ <https://valhalladsp.com/category/tech-talk/>

Ben


> On 22 Mar 2021, at 18:09, Richie Burnett <rburnett at richieburnett.co.uk> wrote:
> 
>> Just speculating here, but I wonder if the mono-reverb/voice algorithm is quite unnatural...
> 
> That is one of the criticisms of convolution reverb, that it puts all of the instruments in the reverb's send feed through the same "single-point to single-point" transfer function (or "single-point to two-point" in the case of stereo reverb.)  Which is not what happens in reality because every source is in a subtly different location.
> 
> I remember reading something that someone involved in early reverb development had written about this.  Can't remember who it was now, but likely someone from Lexicon.  They said that they got around this static sound by the introduction of modulations like "spin" and "wander" so that successive sounds would get subject to subtly different transfer functions instead of the same rigid transfer function.  This isn't so much putting each instrument in it's own unique fixed place in the room, as much as moving the single source around in the room with time.  There were also comments about the fact that humans rarely keep their heads absolutely fixed in the same place whilst listening to music, and musicians operating real acoustic instruments move significantly in order to play.  So clearly a single-point to single-point transfer function falls short of modelling reality.
> 
> There were also comments about air currents in large rooms driven by thermal gradients, etc, which I found less convincing.  The fact remains that modulating a bunch of the delay lines within the reverb algorithm was very effective at breaking up some of the metallic resonant modes that plagued early reverbs that had barely enough of the expensive delay memory.  That is probably the over-riding reason why modulation was introduced:  To disturb the metallic ringing in the reverb tail, ...and the fact that it sounds fantastically dreamy and musical when ramped up!
> 
> -Richie, 
> 
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