[sdiy] Ideal polyphonic digital reverb

Wed Mar 24 02:14:53 CET 2021

Here's a bunch of examples

These were recorded direct with stereo effects post processing, then
the finished track was added to video.

https://www.youtube.com/watch?v=fh2vSXmzY4E
https://www.youtube.com/watch?v=PhE4WslnORY
https://www.youtube.com/watch?v=8E5xW0FMMW8
https://www.youtube.com/watch?v=zIlMy5idQk0
https://www.youtube.com/watch?v=9RotJMbqNxQ
https://www.youtube.com/watch?v=x8qIBq6MSps

If you want the two second short attention span version, play "Demo 6"
the last one.

All the samples have processing.  The reverbs are factory Lexicon
patches, the SDD-3300 modulated delay effects are my own.  Some of the
samples have subtle stereo imaging which the 3300 does quite well.
Best of all, this effect system does not change the tone of the source
one iota.

Yes seven units of 3300/PCM60 for:
Moog Memorymoog
Oberheim OBX
Oberheim OBSX
Moog Voyager
Alesis Andromeda Aux output #1
Alesis Andromeda Aux output #2
Set #7 on effect buss in studio

MC

On 3/23/21, ColinMuirDorward <colindorward at gmail.com> wrote:
> Michael are you saying that you have seven units each of sd3300 and pcm60?
> Do you have any music/sound samples you can share?
> Seems to have gone OT but enjoying this convo.
> Colin
>
> On Mon, Mar 22, 2021, 10:12 PM David Messenger, <mssngr1 at pacifier.com>
> wrote:
>
>> The 3300 has 3 delay lines...
>>
>>  From "The Gear Page"
>>
>>  >Korg SDD-XXXX Delay Rack Unit History
>>
>> Messages
>>      1,614
>>
>> Jun 30, 2020
>>
>>      #1
>>
>> Delving into rack delays...I see that Korg released an SDD-1000,
>> SDD-2000 and SDD-3000. Then, they also have an SDD-1200 and SDD-3300.
>> I'm wondering what the release dates were for each of these (really,
>> which was first, which came later) and differences among them?
>>
>> SDD-3000 (1983) - 1023ms, special preamp, 9 programmable presets
>> SDD-1000 (1984) - 1024ms at full frequency, 2048ms at half frequency -
>> all knobs
>> SDD-2000 (1985) - 1092ms at full frequency, 4368ms at reduced frequency
>> - 64 programmable presets, MIDI, sampling
>>
>> SDD-1200 (DATE?) - 1024ms (doubles when delays in series), dual delay
>> lines
>> SDD-3300 (DATE?) - 500ms per line (triples when delays in series), three
>> delay lines
>>
>> On 3/22/2021 10:14 PM, cheater cheater wrote:
>> > 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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