[sdiy] Ideal polyphonic digital reverb

[cheater cheater]

can you both tell me the difference between an sdd 3300 and an sdd 3000? thanks.

On Tue, Mar 23, 2021 at 3:41 AM Michael E Caloroso
<mec.forumreader at gmail.com> wrote:
>
> Want more intriguing?
>
> MC
>
> On 3/22/21, James Coplin <james at ticalun.net> wrote:
> > As someone with 3x SDD-3300s sitting here this intrigues me mightily.
> >
> > James R Coplin
> >
> > On Mar 22, 2021, 8:56 PM, at 8:56 PM, Michael E Caloroso
> > <mec.forumreader at gmail.com> wrote:
> >>After years of experimentation I have concluded that a polyphonic
> >>synth needs both reverb and at least a pair of delays that can be
> >>modulated.
> >>
> >>Reverb alone was never enough.
> >>Modulated delays alone was never enough.
> >>
> >>I had really liked my Korg SDD-3300 triple digital delay for synths,
> >>which can be configured in any series/parallel/cross-coupled
> >>architecture you can dream of.  This gets better modulated delays than
> >>multi-effect boxes.  Then I saw a spare output and two spare inputs on
> >>the 3300, so I hooked my Lexicon PCM60 digital reverb up to it and
> >>that was the magic combination I wanted.
> >>
> >>Using the 3300 I can route direct signal to reverb, then process the
> >>reverb tales with the 3300.  Or reverb in parallel with delays.  Or
> >>series.  Add predelay to the reverb send.  Or multiple predelay each
> >>to different delay times.  World of sounds with this combination.
> >>Enough that I built seven sets of these for my synths for independent
> >>processing.
> >>
> >>MC
> >>
> >>On 3/22/21, cheater cheater <cheater00social at gmail.com> wrote:
> >>> let's enumerate some of the possibilities:
> >>>
> >>>
> >>> voice 1: vco1 -> (a1) -> vcf1 -> (b1) -> vca1 -> (c1)
> >>> voice 2: vco2 -> (a2) -> vcf2 -> (b2) -> vca2 -> (c2)
> >>> ...
> >>> voice n: vcon -> (an) -> vcfn -> (bn) -> vcan -> (cn)
> >>>
> >>> at a1, you want to have one of a few things:
> >>>
> >>> (i) a convolution engine that takes the output of vco1, applies an
> >>IR,
> >>> and puts it into the input of vcf1
> >>> (ii) same as (i) but the input is all vcos (1..n) and the output is
> >>vcf1
> >>> (iii) same as (i) but the output is all vcfs (1..n)
> >>> (iv) same as (i) but the input is the last few notes you played in
> >>> decreasing order: 1/2 * the vco from the most current note + 1/4 *
> >>the
> >>> vco from the previous note + 1/8 * the vco from the note previous to
> >>> that etc
> >>> (v) same as (iv) but you do that with the outputs
> >>> (vi) same as (i) but there's also input from b1 or c1
> >>>
> >>> then you want the same topology at b and c
> >>>
> >>> They're all obviously going to have different results and different
> >>> applications.
> >>>
> >>> And obviously you can think about all sorts of dsp in here, not just
> >>> convolution, and when it comes to convolution, then not just reverb.
> >>>
> >>> On Mon, Mar 22, 2021 at 7:03 PM Mike Bryant
> >><mbryant at futurehorizons.com>
> >>> wrote:
> >>>>
> >>>> Thought I'd change the topic name as we're definitely moving away
> >>from
> >>>> cheap.
> >>>>
> >>>> So given a polyphonic synth with unlimited voices and unlimited
> >>budget,
> >>>> what should the structure of an ideal reverb system look like ?
> >>>>
> >>>> Once there's a consensus I'll try coding it into my digital synth.
> >>>>
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