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Originally Posted by seancostello  The mod rate and depth is set kinda high on the Eos examples, IMO. For the plate algorithm, I tend to set the freq around 0.7 Hz or so, and the depth around 1/3 to 1/2. The parameters give the user enough rope to hang themselves, if deliberately chorusy reverbs are desired, but the plate algorithms tend to work with lower amounts of modulation than the hall algorithm, at least when I was working with it. On the other hand, your other sound examples are about turning up the modulation depth and speed high enough so that the modulation is obvious, so in that sense the examples are probably appropriate. |
That was the point of my demonstration. I matched the modulation rate and amount in the PCM96 and the Eos specifically to illustrate the odd placement of the modulation in the PCM.. what were they thinking? I think that you've come very close to some of the 'prettier' reverb sounds I tend to gravitate towards with your Eos, but to my tastes it's the Plate 1 algo that has the best magic.
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Thanky you for posting these examples, BTW. It is nice to hear the same audio example for all of these platforms. I haven't heard the Sony R7 before - it sounds quite nice.
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I have several early Sony reverbs. The R7 is the only 'modern' one. They are incredible. SONY put - so - much R&D into these algos.. and they are fantastic. Nothing in them is modulated or randomized, they are simply tweaked to perfection.
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Speaking of modulated halls, have you tried the Ensoniq DP/2 and DP/4 Large Halls in comparison with the PCM70 and PCM96? It was my understanding that these algorithms shared some DNA with the 224 algorithms.
Sean
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As I mentioned before, I worked as a consultant with Ensoniq to develop the DP/4+ , DP/2 and ultimately the DP/Pro. Many of the reverb presets in the DP/2 and DP/Pro are my work. The DP/Pro has the famous "Dattorro algorhythm". I pleaded with Jon to give me access to modulation for some of the taps and we did end up with a very powerful device. I own a DP/2, a DP/4+ and two DP/Pro (including one with a prototype Digital I/O. That piano track I have been using for the examples comes from a record I mixed a few weeks ago and on the actual mix, I used the DP/pro with a factory preset I created called "Black 224"....
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I printed the reverb return back to tape, and here it is
Note the low density, high modulation and late 1970s primitivism....