<div dir="ltr">
<div>I think the application which emulates a choir in a room or the pipes-placement is a stereo positioning problem.This would require a pretty sophisticated reverb, no? Richie just said it, but I think the way to do this would be to have one *nice* reverb with many inputs.</div><div>
Just speculating here, but I wonder if the mono-reverb/voice algorithm is quite unnatural, in which case drawing comparisons to acoustic instruments might be unlikely. <br></div><div>It would be a snap to bash off some prototypes in reactor, PD, etc, but it's been ten years since I touched any of those!<br></div><div><br></div>
</div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Mon, Mar 22, 2021 at 12:42 PM Richie Burnett <<a href="mailto:rburnett@richieburnett.co.uk">rburnett@richieburnett.co.uk</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">This is very true. Most reverbs have just one (mono mix) or two (stereo) <br>
inputs to the reverb algorithm, whereas in practice every instrument is in a <br>
physically different place within a room.<br>
<br>
It's still easier (and much more computationally efficient) to feed multiple <br>
sources into one reverb algorithm in multiple different places than it is to <br>
implement a multitude of separate reverb algorithms in parallel though.<br>
<br>
But of course you can't gate the reverb from those multiple different <br>
sources independently. Once the energy has been put into the tank it all <br>
gets mixed together. The all-pass diffusers do a good job of shuffling it <br>
around on every pass round the loop!<br>
<br>
-Richie,<br>
<br>
<br>
<br>
-----Original Message----- <br>
From: Mike Bryant<br>
Sent: Monday, March 22, 2021 4:26 PM<br>
To: ColinMuirDorward ; Richie Burnett<br>
Cc: *SYNTH DIY<br>
Subject: RE: [sdiy] Cheapest good sounding digital reverb?<br>
<br>
<br>
<br>
I thought that at first. One example I can think of is having a choir <br>
spread around a building such as a cathedral, where the different locations <br>
of the sopranos, altos, tenors and basses, and of any soloists, would <br>
experience different reverberation, giving a greater sense of the size of <br>
the building to the overall sound.<br>
<br>
Also some of the best church organs were built placing different pipes in <br>
optimal locations to emphasise certain acoustic properties of the building.<br>
<br>
<br>
<br>
<br>
<br>
From: Synth-diy [mailto:<a href="mailto:synth-diy-bounces@synth-diy.org" target="_blank">synth-diy-bounces@synth-diy.org</a>] On Behalf Of <br>
ColinMuirDorward<br>
Sent: 22 March 2021 12:53<br>
To: Richie Burnett<br>
Cc: *SYNTH DIY<br>
Subject: Re: [sdiy] Cheapest good sounding digital reverb?<br>
<br>
<br>
<br>
<br>
<br>
Thinking more about this and wondering what would be the sonic difference <br>
between polyphonic reverb and "paraphonic" reverb.<br>
<br>
<br>
<br>
Unless each voice is using a different reverb, wouldn't they sound <br>
identical? A post-reverb VCA will change this, since you can have different <br>
notes gating on and off at different times, but this seems a high price to <br>
pay for a very subtle effect. Polyphonic effects I would be chasing are <br>
delay, chorus, flange, pitch, etc; those which could take advantage of <br>
per-voice dynamic manipulations.<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
At any rate, I'd love to hear anything that comes out of this, reverb or <br>
otherwise. There is probably lots to discover in this under-explored <br>
terrain.<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
Colin<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
On Mon, Mar 22, 2021 at 10:47 AM Richie Burnett via Synth-diy <br>
<<a href="mailto:synth-diy@synth-diy.org" target="_blank">synth-diy@synth-diy.org</a>> wrote:<br>
<br>
<br>
<br>
A few general comments:<br>
<br>
1. High quality reverb requires a decent chunk of MIPS and RAM.<br>
2. Convincing small rooms with short reverb times are the hardest to do<br>
algorithmically.<br>
3. Different reverb algorithms needed for different sources. (More/less<br>
diffusion for percussive/pad sounds to trade off density & flutter against<br>
metallic ringing.)<br>
4. 16-channels (or 64 !?) is a _LOT_ of data bandwidth. Use DMA for the<br>
ADC/DAC/CODEC.<br>
<br>
You also need a decent size word-length for the storage and calculations.<br>
Early 16-bit reverbs were very noisy due to build up of quantisation noise<br>
within the algorithm due to feedback. Use at least 20-bit storage or that<br>
funky floating-point RAM that Keith Barr used for the delay memory. Or you<br>
might get away with noisy reverbs if you're gonna put a VCA (noise gate!)<br>
after it, but there will always be sounds like a deep mellow bass sound that<br>
will reveal "fizzy" quantisation noise because there's no HF content to mask<br>
it.<br>
<br>
-Richie,<br>
<br>
<br>
-- <br>
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