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Valhalla Room Reverb3/18/2021
Instead, 4 different algorithms are provided, each with their own distinctive sonic characteristics.The Large Room algorithm has a very exponential decay, with precise control over the frequency balance of the decay over time.There is a slight amount of high frequency absorption that is inherent to the Large Room algorithm, which reflects the effects of air on high frequencies.
The modulation in the Large Room algorithm is designed to create a wide stereo image, but without causing random pitch shifts in the decay. Use of higher modulation depths will result in a deeper sound that still retains the original pitch of the input, while shallower modulation depths are useful in obtaining a natural sounding decay. The initial echo density is the sparsest of the 4 algorithms, and audible echos can be heard at the largest settings of Late Size. The modulation is more random than Large Room, and can cause some random pitch shifts for long decays which is also a characteristic of many of the classic reverb algorithms as found in the early Lexicon boxes. This slow attack time is a characteristic of larger halls, but can also be heard in some of the classic digital reverbs, as well as in ValhallaShimmer (although the attack time of Bright Room is much faster than the attack times of the ValhallaShimmer algorithms). The decay of the Bright Room algorithm has more high frequency air and sheen than the other algorithms it is fair to say that Bright Room is more digital than the other algorithms, in a good way. The modulation in Bright Room is random, complex, and deep, with the goal to provide lush chorusing to any input signal. At some settings, it can sound close to string ensembles, and for long decays, it turns static input sounds into evolving pads. Bright Room is the algorithm I would initially turn to for emulating those Vangelis Blade Runner reverbs. Instead of emulating the initial echo sparseness of most rooms, it starts off with a very high echo density, similar to the high echo densities found in echo chambers and similar spaces (Ive spent a lot of time clapping my hands in multi-story concrete stairwells and listening to the decay). The goal with Large Chamber was to get a sound that was larger than life, with the echo density of a small space, but the modal density of a large hall. The result is a fairly colorless reverb that suits a wide variety of input sounds, and can be used to emulate chambers, rooms, halls, what have you, without imparting a specific space on the sounds. The modulation and decay time are similar to Large Room, with the difference that the initial detuning of the decay is far more diffuse than the Large Room algorithm. I ABed this with my Lexicon PCM Native bundle and Altiverb and Ive liked it better in every setting I tried. I add it to my samples as well as my live orchestral recordings. However, I was wondering if you could help me with settings. I want to get rid of this and make a silkier, smoother tail-off. The fizz can give the impression of a room space that is harsher in the mids but without the desired warmth (I try increasing the bass mult. You can even have the High Cut set to a much higher value when you set the High Mult to lower values.
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