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#391
8th July 2013
Old 8th July 2013
  #391
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I wonder if Exponential Audio (Michael Carnes) will keep adding more algos and presets to Phoenix and R2? I'm nearly won over by them but I'm low on cash I've got a voice in my head that says Valhalla DSP is flawless and another voice saying but the R2 is done by Lexicon's brain, the Jesus of reverb.
#392
8th July 2013
Old 8th July 2013
  #392
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Quote:
Originally Posted by kaboom75 View Post
I wonder if Exponential Audio (Michael Carnes) will keep adding more algos and presets to Phoenix and R2?
There's always a certain level of confusion between algorithms and presets. In the case of PhoenixVerb and R2, the algorithm is the plugin. It's a very flexible algorithm, with modes for plates, chambers, etc, but it's what it is. I will not add any parameters or change the range of any parameters. That's a very, very bad idea once a plugin is in the field. It breaks stored sessions and can wreak havoc with any stored automation.

But I will add presets from time to time. There's still a lot that can be done within the framework of those plugins, so I'll respond to what I perceive as the needs of customers. R2 has found a serious home in dialog mixing (that surprises me a little), so I'm sure I'll add more rooms. And sometimes I get a preset in mind so I go ahead and do it.
#393
8th July 2013
Old 8th July 2013
  #393
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I love the 2cAudio verbs (esp B2) and have decided not to chase legacy gear emulations, and just let "them" be my sound until I can afford a Bricasti M7. I just wish they'd hurry up with the 64bit updates.
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#394
8th July 2013
Old 8th July 2013
  #394
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I keep falling back to Eventide 2016 Stereo Room native.
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#395
8th July 2013
Old 8th July 2013
  #395
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Quote:
Originally Posted by kaboom75 View Post
I wonder if Exponential Audio (Michael Carnes) will keep adding more algos and presets to Phoenix and R2? I'm nearly won over by them but I'm low on cash I've got a voice in my head that says Valhalla DSP is flawless and another voice saying but the R2 is done by Lexicon's brain, the Jesus of reverb.
The original Lexicon algorithms were done by David Griesinger. Michael Carnes worked at Lexicon for 20+ years IIRC, and undoubtedly learned the tools of the trade from Griesinger and others, but I wouldn't call Carnes THE brain of Lexicon. Carnes designed the algorithms in the flagship Lexicon products during the last 15 years, such as the 960, PCM92/96, and all of the recent plugins (PCM, LXP, MPX), so he has been the RECENT brain of Lexicon.

I've only heard the Phoenix algorithm from Michael. It has a level of transparency that I haven't heard from any Lexicon reverb, past and present. I haven't listened to R2 yet, as I might get too curious. My guess is that Michael was compelled to create algorithms at Lexicon that had the "Lexicon sound," and that his Exponential Audio work is informed by his decades of experience, yet can move into new sonic directions. The Exponential Audio stuff is "post Lexicon," in the best sense of the phrase.

As far as Valhalla DSP, which is me, I'm not sure that my stuff is "flawless." I try to err on the side of the awesome, versus perfection. ValhallaVintageVerb was inspired by the Lexicon algorithms from 1979 through 1986, with the beautiful and freaky aspects equally embraced. I'm currently working on my own "post Lexicon" algorithms for VintageVerb, where I am entering the realm of alternative history reverbs (or "digital audio fanfic" as one of my Twitter followers wrote). Things along the lines of "what if the 224 Concert Hall had been redesigned by Michael Gerzon?" Pretty nerdy concept, but I'm hoping that the sonic results will be cool and inspiring.
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#396
8th July 2013
Old 8th July 2013
  #396
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Quote:
Originally Posted by seancostello View Post
The original Lexicon algorithms were done by David Griesinger.
That's true, although David stepped aside from the reverbs in the mid-90's. It is certainly true that I was 'encouraged' to maintain the "Lexicon Sound", but I stepped around those restrictions as often as I could. You'll notice a strong family resemblance between the 480L version of RandomHall and the PCM96 version, but you'll also notice a number of significant differences. The 'Room' algorithm that appeared in the PCM96 was completely my own invention. As a matter of fact, Dave G told me he thought it was a terrible idea. But it ended up being pretty popular. You really don't know until you try.

And don't forget Barry Blesser's contributions. He and Dave maintained a very friendly rivalry back in the day, and both of them benefitted from it. Barry served as a sounding board for me too. Still does. His penetrating intelligence can cause you a great amount of embarrassment if you haven't thought things through.

I will readily admit that I'm happy to be out from under the yoke. I really enjoyed being responsible for that sound for as long as I was (don't have a clue what's going to happen to it now), but I long thought there were other ways to skin a hall.
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#397
8th July 2013
Old 8th July 2013
  #397
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Quote:
Originally Posted by Michael Carnes View Post
It is certainly true that I was 'encouraged' to maintain the "Lexicon Sound", but I stepped around those restrictions as often as I could. You'll notice a strong family resemblance between the 480L version of RandomHall and the PCM96 version, but you'll also notice a number of significant differences.
I've heard the demo of the PCM bundle, but I haven't heard Random Hall in the 480L, so I'll take your word for it. How would you quantify the sonic differences?

Quote:
The 'Room' algorithm that appeared in the PCM96 was completely my own invention. As a matter of fact, Dave G told me he thought it was a terrible idea. But it ended up being pretty popular. You really don't know until you try.
I remember hearing the PCM Room. That was some nice stuff. It definitely went against the idea that I have read about in Lexicon manuals, about the "myth of early reflections" and the need to avoid undiffused, discrete reflections. It sounded great.

This is something I figured out in the Sanctuary mode of VintageVerb, where the first N reflections were modeled from EMT250 impulse responses. The reflections are HARD reflections, with no diffusion. I though this would sound fake. Instead, it adds a TON of presence to the reverb.

Quote:
And don't forget Barry Blesser's contributions. He and Dave maintained a very friendly rivalry back in the day, and both of them benefitted from it. Barry served as a sounding board for me too. Still does. His penetrating intelligence can cause you a great amount of embarrassment if you haven't thought things through.
I've read every Blesser paper and book that I can get my hands on. I have a 1978 book on DSP with a Blesser chapter in it. Most of the rest of the book is hopelessly obsolete, but the Blesser chapter continues to yield insights every time I read it. His thoughts about the "bumpy" decay envelope caused by randomly distributed eigenmodes in a given frequency range have given me a lot of insight as to the original goals of modulated reverbs.

Quote:
I will readily admit that I'm happy to be out from under the yoke. I really enjoyed being responsible for that sound for as long as I was (don't have a clue what's going to happen to it now), but I long thought there were other ways to skin a hall.
I'm not sure that anything NEEDS to happen to the Lexicon sound. People still play Telecasters and Stratocasters through tube circuits that are identical to those used by 1950's Fender tweed amps, and are happy to do so. The Lexicon sound is up there with the sound of classic compressors and EQ circuits. Being computationally efficient is a nice bonus, so Lexicon-style algorithms will probably fit on whatever computer/DSP paradigm is invented.

Having said that, I'm really excited for the post-Lexicon sound. The Exponential Audio stuff is definitely a great example of this: sonic similarities to the Lexicon stuff, but (IMO) better. I'm currently working on reducing certain artifacts I don't like in the Lexicon-style algorithms, while emphasizing the artifacts I do like. This is an exciting time to be developing reverbs!
TNM
#398
8th July 2013
Old 8th July 2013
  #398
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I keep going back to softube tsar, UAD lexicon, UAD emt140..Breverb 2, and earverb. I have alot more than that, and over the years have had access to every single reverb plugin on mac through demo or ownership, and those five are honestly my favourites overall. I would LOVE the pcm bundle which is sitting dormant on my ilok cause it wreaks cpu spike havok on mac and they refuse to fix it. Lovely when one has paid over a thousand dollars for a set of unusable buggy rubbish.
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#399
8th July 2013
Old 8th July 2013
  #399
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UAD EMT250 - vocals and snare
Relab LX480 - anything.
TC VSS3 - almost always piano but sometimes a bit of space around an Ac. guitar.

I feel spoilt beyond my dreams these days when it comes to reverb ITB.

I was a bit disappointed by the UAD 224 - didn't really get there for me in the end.

It would be cool if Relab did a sample accurate 224XL .... that would be great.
#400
8th July 2013
Old 8th July 2013
  #400
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Quote:
Originally Posted by seancostello View Post
The original Lexicon algorithms were done by David Griesinger. Michael Carnes worked at Lexicon for 20+ years IIRC, and undoubtedly learned the tools of the trade from Griesinger and others, but I wouldn't call Carnes THE brain of Lexicon. Carnes designed the algorithms in the flagship Lexicon products during the last 15 years, such as the 960, PCM92/96, and all of the recent plugins (PCM, LXP, MPX), so he has been the RECENT brain of Lexicon.

I've only heard the Phoenix algorithm from Michael. It has a level of transparency that I haven't heard from any Lexicon reverb, past and present. I haven't listened to R2 yet, as I might get too curious. My guess is that Michael was compelled to create algorithms at Lexicon that had the "Lexicon sound," and that his Exponential Audio work is informed by his decades of experience, yet can move into new sonic directions. The Exponential Audio stuff is "post Lexicon," in the best sense of the phrase.

As far as Valhalla DSP, which is me, I'm not sure that my stuff is "flawless." I try to err on the side of the awesome, versus perfection. ValhallaVintageVerb was inspired by the Lexicon algorithms from 1979 through 1986, with the beautiful and freaky aspects equally embraced. I'm currently working on my own "post Lexicon" algorithms for VintageVerb, where I am entering the realm of alternative history reverbs (or "digital audio fanfic" as one of my Twitter followers wrote). Things along the lines of "what if the 224 Concert Hall had been redesigned by Michael Gerzon?" Pretty nerdy concept, but I'm hoping that the sonic results will be cool and inspiring.
R2 is real good Sean. I think you'd like it.
#401
8th July 2013
Old 8th July 2013
  #401
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Quote:
Originally Posted by seancostello View Post
His thoughts about the "bumpy" decay envelope caused by randomly distributed eigenmodes in a given frequency range have given me a lot of insight as to the original goals of modulated reverbs.
Wow, and I thought I was just weird for daydreaming about that too!

Impressed with you guys; keep up the great work.
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#402
9th July 2013
Old 9th July 2013
  #402
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Quote:
Originally Posted by seancostello View Post
Having said that, I'm really excited for the post-Lexicon sound. The Exponential Audio stuff is definitely a great example of this: sonic similarities to the Lexicon stuff, but (IMO) better. I'm currently working on reducing certain artifacts I don't like in the Lexicon-style algorithms, while emphasizing the artifacts I do like. This is an exciting time to be developing reverbs!
Your excitement gives great expectations - I have always found algorithmic reverbs to be problematic and lacking, but your best work has been promising and uplifting - so now I'm really looking forward to what this "post-lexicon" sound can bring...

::
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#403
9th July 2013
Old 9th July 2013
  #403
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Thanks Michael and Sean interesting stuff. I'll be using all four plugs soon. I think Valhalla and EA is the best combination right now.
#404
9th July 2013
Old 9th July 2013
  #404
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Quote:
Originally Posted by seancostello View Post
I've heard the demo of the PCM bundle, but I haven't heard Random Hall in the 480L, so I'll take your word for it. How would you quantify the sonic differences?
Sean, I thought I responded to this a few hours ago. But I looked on GS and it's not there. So let's try again...

A few of my changes to Random Hall included a completely re-imagined randomizer. I believe it gave greater spectral purity than the original and also helped avoid room modes a bit better. I also changed the internal filter architecture to make the algorithm more flexible. You could still get to most of the original stuff, but there were new things possible. I know there were some other things, but it's been a while since I was in there and I just don't think about it much anymore.


Quote:
I'm not sure that anything NEEDS to happen to the Lexicon sound.
I certainly don't disagree with you, but I suspect any further work with that sound will come from someone independent of Harman. I don't think there's much ongoing interest within the company. I don't have any special information about that, but they've not been burning up the boards with activity.
M2E
#405
9th July 2013
Old 9th July 2013
  #405
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Quote:
Originally Posted by Michael Carnes View Post
Sean, I thought I responded to this a few hours ago. But I looked on GS and it's not there. So let's try again...

A few of my changes to Random Hall included a completely re-imagined randomizer. I believe it gave greater spectral purity than the original and also helped avoid room modes a bit better. I also changed the internal filter architecture to make the algorithm more flexible. You could still get to most of the original stuff, but there were new things possible. I know there were some other things, but it's been a while since I was in there and I just don't think about it much anymore.




I certainly don't disagree with you, but I suspect any further work with that sound will come from someone independent of Harman. I don't think there's much ongoing interest within the company. I don't have any special information about that, but they've not been burning up the boards with activity.
Hello Michael,

I know you probably been asked this question a million times, I just can't find the answer...lol
You were involved with the PCM96 hardware unit and the software unit.
Is there or should there be any sound difference?

I'm going to be demoing the Phoenix plugin in a couple weeks as well.

Thanks,

Marc
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#406
9th July 2013
Old 9th July 2013
  #406
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Quote:
Originally Posted by M2E View Post
Hello Michael,

I know you probably been asked this question a million times, I just can't find the answer...lol
You were involved with the PCM96 hardware unit and the software unit.
Is there or should there be any sound difference?
There is a sound difference in some people's imagination, but in reality they're the same. There's a bug in the hardware ConcertHall algorithm, but it's only for some very extreme settings. I fixed it in the plugin, but you won't notice any difference unless you're in some silly small-room-long-time situations. You'll know you're there because the hardware goes unstable. If a screaming sound followed by a thump is a key component of your mix, then stick with hardware

The old hardware/software battle will continue--no matter what any of us say. But in truth it's all been software and it has been for a few decades now. It's been a good 20 years since the converters made any difference. The only thing I can think of that might be real could be related to bus structure on analog consoles; I could certainly imagine some distortion components on a really slammed bus. But if you put the same bits in each, you'll get the same bits out.

Best regards,
Michael
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#407
9th July 2013
Old 9th July 2013
  #407
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Quote:
Originally Posted by SergioMartins View Post
Waves IR1 (damn i'm alone in this)...
No, I like it alot, too.

It's unpopular for some reason, but I find it to be very, very good, with usable adjustability, too.
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#408
9th July 2013
Old 9th July 2013
  #408
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Softube TSAR-1 is my favourite. Simplicity and great sound.
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#409
9th July 2013
Old 9th July 2013
  #409
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Michael Carnes' reply above should be put sticky . Great read, straight from the horses mouth.
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#410
9th July 2013
Old 9th July 2013
  #410
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Yeah, I've found this thread fascinating: it's not often you get to hear two (or more) talented developers speaking passionately about their projects with one another and their users. Sean and Michael both have contributed much. Gotta love the interwebs sometimes.
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#411
10th July 2013
Old 10th July 2013
  #411
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Quote:
Originally Posted by Michael Carnes View Post
There is a sound difference in some people's imagination, but in reality they're the same. There's a bug in the hardware ConcertHall algorithm, but it's only for some very extreme settings. I fixed it in the plugin, but you won't notice any difference unless you're in some silly small-room-long-time situations. You'll know you're there because the hardware goes unstable. If a screaming sound followed by a thump is a key component of your mix, then stick with hardware

The old hardware/software battle will continue--no matter what any of us say. But in truth it's all been software and it has been for a few decades now. It's been a good 20 years since the converters made any difference. The only thing I can think of that might be real could be related to bus structure on analog consoles; I could certainly imagine some distortion components on a really slammed bus. But if you put the same bits in each, you'll get the same bits out.

Best regards,
Michael
Haha, Thanks Michael. You are talking to a person that knows the Hardware vs Software debate very well.
I believe you 100%. Trust me.

Thanks,

Marc
#412
17th July 2013
Old 17th July 2013
  #412
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Quote:
Originally Posted by Brian R View Post
I love the 2cAudio verbs (esp B2) and have decided not to chase legacy gear emulations, and just let "them" be my sound until I can afford a Bricasti M7.
thanks...

Quote:
Originally Posted by Brian R View Post
I just wish they'd hurry up with the 64bit updates.
All of our products are available as 64-bit AU and VST on OSX now. And have been 64-bit on Win for a couple years already. Please see the products threads here for details. We did not yell this very loudly b/c we are still finishing AAX support and a couldn't help ourselves from adding some cool new features to B2. (have to have some fun with all this systems coding!). Once AAX is ready, we will make more noise. Until there there is no reason to wait to try AU and VST now. There were various other enhancements made to all products alone the way as well...
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#413
17th July 2013
Old 17th July 2013
  #413
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I use Uad Emt140, 250 and Lexicon 224, convo: EW Spaces and Spacedesigner.
I've demoed Lexicon Pcm and Relab 480 up against 224, not sure I need them.
#414
17th July 2013
Old 17th July 2013
  #414
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I've mentioned before that i love 2caudio's reverbs, especially Breeze.

If you want a huge number of features with a lot of control you have Aether (it has great presets as well though) and if you want a more easy to use reverb with great presets, that to me sounds miles better than a lot of other more "expensive" & "big name" verbs, you have Breeze.


It's so fast to get where you want to go and it's really really easy on your system!

Graham
#415
28th July 2013
Old 28th July 2013
  #415
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Quote:
Originally Posted by Michael Carnes View Post
There is a sound difference in some people's imagination, but in reality they're the same. There's a bug in the hardware ConcertHall algorithm, but it's only for some very extreme settings. I fixed it in the plugin, but you won't notice any difference unless you're in some silly small-room-long-time situations. You'll know you're there because the hardware goes unstable. If a screaming sound followed by a thump is a key component of your mix, then stick with hardware

The old hardware/software battle will continue--no matter what any of us say. But in truth it's all been software and it has been for a few decades now. It's been a good 20 years since the converters made any difference. The only thing I can think of that might be real could be related to bus structure on analog consoles; I could certainly imagine some distortion components on a really slammed bus. But if you put the same bits in each, you'll get the same bits out.

Best regards,
Michael
Dear Michael,


I remember asking Shawn about writing code for DSP's and how Eventide and TC Electronics where taking quite some time to port their plugins from fixed point Freescale (Motorola) 56K to floating point x86 and x64 and he had mentioned that you were part of the reason that Lexicon didn't go into DSP plugin development and instead went Native. What were you reasons for this?

Also, since the new AAX-DSP is a floating point are you (Exponential Audio) planning on supporting it?


Also, I am a big fan of Lexi verbs and in particular the plate in the PCM bundle so just wanted to say that I really respect your work and reverbs, but I am a huge VSS3 fan and love the Megareverb from TC and have pondered buying an M 5000 and also love the Bracasti M7's sound and would love one of those. That being said my favorite reverbs are the most "clear" sounding reverbs out (I don't know how else to describe it). Many say your reverbs are super clear and I have a demo of R2 sitting on my ilok account ready to be used, though I'm waiting till I have a bit more money before I try it out. Which I one of your reverbs if any comes close to that VSS3 or VSS4 kind of sound and if none of them can do you know a developer who has anything that works like those two that are native?

I have VSS3 on my Powercore, but someday I won't be able to use it :-(

Thank you so much for your time!


The very best regards,
Marcos
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#416
28th July 2013
Old 28th July 2013
  #416
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Quote:
Originally Posted by mista min View Post
I remember asking Shawn about writing code for DSP's and how Eventide and TC Electronics where taking quite some time to port their plugins from fixed point Freescale (Motorola) 56K to floating point x86 and x64 and he had mentioned that you were part of the reason that Lexicon didn't go into DSP plugin development and instead went Native. What were you reasons for this?
Hi Marcos,
There are actually many questions wrapped up in that paragraph. Let's just say that I should have pursued plugin-style DSP a little sooner than I did. I was just as susceptible to the "powerful hardware" argument as anyone else. But once I did my first plugin experiments, it became clear that it was time to switch sides. The DSP chip folks have focused on a different segment--mobile devices and hybrid DSP/controllers--and I doubt we're going to see them as serious players in the audio market again. The market's too small and development/foundry costs are way too high.

Quote:
Also, since the new AAX-DSP is a floating point are you (Exponential Audio) planning on supporting it?
Believe me, no one with a choice would ever stick with fixed-point. I was complaining about that even when I was writing microcontroller stuff. I actually moved over to floating-point with the development of the PCM96. The TigerSHARC offered a reasonable combination of memory architecture and math capability and I was finally able to move to floating point. Having said that, I don't find any great compulsion to support AAX DSP. For one thing, a modern Xeon-style processor generally has it all over standalone DSP. There are many apps--especially dynamics and EQ--that can do particularly well with the DSP. But verbs are considerably piggier in some of their requirements, and a generic processor is simply a better fit. And as a small shop, I have to be ruthless with myself as far as time management. Time spent on a unique architecture (like AAX DSP) is time not spent on my other customers. I'm happy to do some platform-specific things (my ProTools automation support is better than the other platforms simply because ProTools offers me more in their API), but I have to make such decisions thoughtfully.

Quote:
.. Many say your reverbs are super clear and I have a demo of R2 sitting on my ilok account ready to be used, though I'm waiting till I have a bit more money before I try it out. Which I one of your reverbs if any comes close to that VSS3 or VSS4 kind of sound..
Thanks for your kind remarks (I didn't see any need to duplicate them in the quote). I hope you enjoy R2, but I think PhoenixVerb might be the better choice if you're in pursuit of purity. R2 has a bit more of an 80s kind of vibe, so of course my evil plan is that you'll eventually need them both. But I'm almost always wrong about how people will use my stuff (I was usually wrong at Lex, too). I thought PhoenixVerb would be the choice for most people doing film/TV post. I'm happy that it does get used there, but R2 seems to be more popular in that area. I thought that most rockers would use R2, but I see PhoenixVerb popping up there. So what do I know?

I do hope you enjoy the demos.
Best wishes,
Michael
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#417
30th July 2013
Old 30th July 2013
  #417
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Quote:
Originally Posted by Michael Carnes View Post
Hi Marcos,
There are actually many questions wrapped up in that paragraph. Let's just say that I should have pursued plugin-style DSP a little sooner than I did. I was just as susceptible to the "powerful hardware" argument as anyone else. But once I did my first plugin experiments, it became clear that it was time to switch sides. The DSP chip folks have focused on a different segment--mobile devices and hybrid DSP/controllers--and I doubt we're going to see them as serious players in the audio market again. The market's too small and development/foundry costs are way too high.


Believe me, no one with a choice would ever stick with fixed-point. I was complaining about that even when I was writing microcontroller stuff. I actually moved over to floating-point with the development of the PCM96. The TigerSHARC offered a reasonable combination of memory architecture and math capability and I was finally able to move to floating point. Having said that, I don't find any great compulsion to support AAX DSP. For one thing, a modern Xeon-style processor generally has it all over standalone DSP. There are many apps--especially dynamics and EQ--that can do particularly well with the DSP. But verbs are considerably piggier in some of their requirements, and a generic processor is simply a better fit. And as a small shop, I have to be ruthless with myself as far as time management. Time spent on a unique architecture (like AAX DSP) is time not spent on my other customers. I'm happy to do some platform-specific things (my ProTools automation support is better than the other platforms simply because ProTools offers me more in their API), but I have to make such decisions thoughtfully.


Thanks for your kind remarks (I didn't see any need to duplicate them in the quote). I hope you enjoy R2, but I think PhoenixVerb might be the better choice if you're in pursuit of purity. R2 has a bit more of an 80s kind of vibe, so of course my evil plan is that you'll eventually need them both. But I'm almost always wrong about how people will use my stuff (I was usually wrong at Lex, too). I thought PhoenixVerb would be the choice for most people doing film/TV post. I'm happy that it does get used there, but R2 seems to be more popular in that area. I thought that most rockers would use R2, but I see PhoenixVerb popping up there. So what do I know?

I do hope you enjoy the demos.
Best wishes,
Michael
Dear Michael,

Thank you so much for your reply. I've spent the past three days rereading your post and trying to digest it all.

Thank you so much and I was just at an Avid workshop and they used Phoenix Verb on a project and it sounded amazing. Great plugin, I will definitely enjoy the demo!

Cheers,
Marcos
#418
30th July 2013
Old 30th July 2013
  #418
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Quote:
Originally Posted by Michael Carnes View Post
Hi Marcos,
There are actually many questions wrapped up in that paragraph. Let's just say that I should have pursued plugin-style DSP a little sooner than I did. I was just as susceptible to the "powerful hardware" argument as anyone else. But once I did my first plugin experiments, it became clear that it was time to switch sides. The DSP chip folks have focused on a different segment--mobile devices and hybrid DSP/controllers--and I doubt we're going to see them as serious players in the audio market again. The market's too small and development/foundry costs are way too high.


Believe me, no one with a choice would ever stick with fixed-point. I was complaining about that even when I was writing microcontroller stuff. I actually moved over to floating-point with the development of the PCM96. The TigerSHARC offered a reasonable combination of memory architecture and math capability and I was finally able to move to floating point. Having said that, I don't find any great compulsion to support AAX DSP. For one thing, a modern Xeon-style processor generally has it all over standalone DSP. There are many apps--especially dynamics and EQ--that can do particularly well with the DSP. But verbs are considerably piggier in some of their requirements, and a generic processor is simply a better fit. And as a small shop, I have to be ruthless with myself as far as time management. Time spent on a unique architecture (like AAX DSP) is time not spent on my other customers. I'm happy to do some platform-specific things (my ProTools automation support is better than the other platforms simply because ProTools offers me more in their API), but I have to make such decisions thoughtfully.


Thanks for your kind remarks (I didn't see any need to duplicate them in the quote). I hope you enjoy R2, but I think PhoenixVerb might be the better choice if you're in pursuit of purity. R2 has a bit more of an 80s kind of vibe, so of course my evil plan is that you'll eventually need them both. But I'm almost always wrong about how people will use my stuff (I was usually wrong at Lex, too). I thought PhoenixVerb would be the choice for most people doing film/TV post. I'm happy that it does get used there, but R2 seems to be more popular in that area. I thought that most rockers would use R2, but I see PhoenixVerb popping up there. So what do I know?

I do hope you enjoy the demos.
Best wishes,
Michael
Dear Michael,

Thank you so much for your reply. I've spent the past three days rereading your post and trying to digest it all.

Thank you so much
and I was just at an Avid workshop and they used Phoenix Verb on a project and it sounded amazing. Great plugin, I will definitely enjoy the demo!

Cheers,
Marcos
#419
30th July 2013
Old 30th July 2013
  #419
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Joined: Aug 2011
Location: Yukon, Canada / Taipei, Taiwan
Posts: 131

mlien is offline
HOFA-Plugins has released IQ-Reverb... anyone tried this?

... a new plug-in designed to combine the diversity of a convolution reverb with the flexibility of classical reverb processors.
Supplied with a specially compiled library it provides a wide range of possible reverbs out of the box. It is also possible to add custom impulse response files.
Features:
Convolution reverb with innovative editing capabilities.
Easy handling, clearly arranged display.
Intuitive 3D user interface.
Reverberation time adjustable in 3 frequency ranges.
Cut- & vintage gated reverb.
Reverse reverb.
Modulation for vivid reverb textures.
Positioning of sound sources in virtual space (positioner).
True Stereo capable.
Extensive IR and preset library (vintage & high-end studio gear, "real" spaces,
layered reverb combinations).
User presets can be stored.
Imports 3rd party impulse responses and libraries.
Changeable plugin window size.
"Set as default" preset.
Supports all common sample frequencies.
PC and Mac, 32- and 64-bit DAWs.
VST2, VST3, AU, RTAS and AAX plug-in formats.
Price: 149,90 € (124,92 € with edu discount) at the HOFA-Plugins Store. The introductory price is 129,90 € (109,16 € with educational discount).
#420
30th July 2013
Old 30th July 2013
  #420
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Joined: Dec 2007
Location: Montpellier, France
Posts: 1,233

Melgueil is offline
Quote:
Originally Posted by waynestremes View Post
Softube TSAR-1 is my favourite. Simplicity and great sound.
Hear you. I bought TSAR as a throw in because it was part of a sale. What a deal. The GUI is totally cheesy, with that fake wood on the sides. It was relatively cheap and it doesn`t get much of a PR bump from SoftTube, but wow what a sound ! Way, way under-rated IMHO.

Anyone know if Softube developed this natively, or was the development sub`d out ? In any case I agree, it`s a home run - and I keep going back to it. ALso like the UAD 224. Different sound.

Cdlt
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