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September 5, 2021 at 2:46 pm #116645apalazzoloParticipant
The “info” for DualVerb says that this algorithm provides two different types of reverb. Could you kindly tell us which two reverbs are in there (are they taken from other algos?)?
Also, why does this one algorithm max out at +6 dB of output gain when all other algos provide up to +20 dB of output gain?
Finally, why does this one algorithm max out at -20 dB of output cut when all other algos provide up to -30 dB of output cut?
I’m curious about these features because so many (all?) of the H9 algorithms are so carefully tailored for sound quality and flexibility. It seems that there must be some very good reasons for these unique design choices in DualVerb.
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September 5, 2021 at 3:56 pm #158568apalazzoloParticipant
Also, could someone explain what the “Resonance” control does? I, of course, have read the “info” but it doesn’t explain what “resonance” is in this context. Thanks.
September 6, 2021 at 12:21 pm #158573Fender17Participant
I do not know the answer, but what if it is like that just to leave room for resonance…… … which makes certain frequencies considerably stronger……
September 8, 2021 at 12:17 am #158617brockParticipant
You know, I always assumed that meant two separately processed reverbs, each one based on, say, HALL. But I’m not so sure any more. Identical A & B side settings seem to have subtle differences. One side has more early reflections & bloom? Depending on various MIX and SIZE values, I hear elements of ROOM, PLATE; sometimes that random modulation of allpass filters from the ‘big’ algorithms.
I tossed together a quick preset as a testing ground. While the crossed AB-MIX values sound luscious, DUAL-MONO is perfect to separate what’s happening on each side. I ‘ping-ponged’ the A/B-PREDELAYs to enhance that. Now just tweak around with the MIXes, SIZE, A-B-TONE …
The expression pedal mapping serves two purposes. It’s an easy way to dial up the two DECAY times simultaneously, then audition. It also tops out at FREEZE, where many of the parameters still stay ‘active’.
I think RESONANCE here is just that: a variable peak at the area surrounding the corner frequency. Speculating, but perhaps shelving at familiar points: 350 Hz. & 2000 Hz. If you use the EXP PED to FREEZE, you can hear it’s effects while you dial RESONANCE CCW / CW, or adjust the A-TONE & B-TONE. Just hold for 900 mS before you snap to FREEZE, so you capture both the A&B sides.
As for the OUTPUT level discrepancies, I wouldn’t know. It may be the only algorithm with completely independent signal paths. When you cram all this controls into two reverbs, maybe you need every cycle you can spare. Interesting discussion. This is an unfairly neglected algorithm, on my part.
September 13, 2021 at 10:28 pm #158642apalazzoloParticipant
Hey Brock. Thanks for taking the time to address my questions. That’s a good way to isolate various aspects of the algo.
I’ve neglected this one too, mostly because I don’t see the advantage of it over other verbs (which I’m happy with). I can’t help but think that this algorithm exists because all skilled producers know that layered reverb is a signature technique for some musical style or instrument. Just guessing here, but does this algo approach some classic Lexicon sound? Maybe a standard effect for ambient guitarists?
September 17, 2021 at 1:03 pm #158670brockParticipant
The advantage to this one is in blending & customizing the reverb(s) character. For example, bright small room reflections with a later, dark bloom. Or unnatural, like an upfront cavern with shimmering tails. Something to be said for using it in a mixer send & receive context, too.
I’m sure there was a lot of cross-pollination among, say, the AMT 250, Lexicon 224, the SP2016 (especially the 1st two) in the early days. They were all inventing digital reverb. Limiting everything to SIZE and DECAY controls here has to cover a lot of ground, and many types of ‘verb responses.
I consider most any one of the ET reverbs capable enough for ambient work. I embrace the fact that Eventide has given each of them enough range to really “hurt ourselves”. In other words, not limiting the depth of parameter values to some form of preset standards.
September 18, 2021 at 2:30 am #158673apalazzoloParticipant
Brock. Great point. There is such good stuff in here are your other recent posts. Thanks!
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