Doepfer

In a message dated 5/8/2002 8:04:11 PM Eastern Daylight Time, 
buechlerjoe@toadmail.com writes:


> any 
> interesting reverb patch suggestions? 



hello !
don`t think "reverb", think "processor" and use it after a vco but before vcf 
or wavesahper, etc. ! anywhere in a patch is fair game ! 
best,
dave




[Non-text portions of this message have been removed]

>  use it after a vco but before vcf 
> or wavesahper, etc. ! 

Very cool! Thanks Dave

Joe

Hi Joe

> >  use it after a vco but before vcf
> > or wavesahper, etc. !
I would prefer to use it after(!) the VCF but before the VCA. I the prefer
a quite short release time. This makes the patch sounding like a natural
sample: a sample always contains elements of the original room, but the
room-sound does not fade away in a natueral release but ends abrupt with
the end of the sample.

I do this also with polyphonic played sounds:  feed the poly synth sound
with short releasetime to a reverb and then feed the reverb through a noise
gate which is triggered direct from the polyphonic synth.


Florian
-- 
Florian Anwander                  |ConSol*  HP-Support
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Hi Florian

> I would prefer to use it after(!) the VCF but before the VCA. I the 
> prefer a quite short release time. This makes the patch sounding 
> like a natural sample: a sample always contains elements of the 
> original room, but the room-sound does not fade away in a natueral 
> release but ends abrupt with the end of the sample.

It seems to me that the two approaches have different goals: one is to 
create room ambiance, and the other uses the spring reverb in a more 
unconventional way to mangle the raw audio material, such as you'd do 
with the waveshaper or frequency shifter.

I'd like to explore both, but initially I'm focused on treating the 
wet reverb tail as a separate audio path, layered on to the original 
patch with an A138 at the end of the chain.

I've been using a short release time also, but with a seperate VCA and 
volume envelope for the reverb tail. Since the release time is what's 
important, I realized that I can use the A170 slew limiter instead, 
and keep my third ADSR available for other things.
 
> I do this also with polyphonic played sounds:  feed the poly synth 
> sound with short release time to a reverb and then feed the reverb 
> through a noise gate which is triggered direct from the polyphonic 
> synth.

I've been experimenting with patching the A119 gate output to an A130 
to use as a noise gate. It seems to be working pretty well, but I 
can't decide whether its better to trigger the gate with the dry 
signal or the wet reverb tail. Which is best seems to depend on the 
patch.

In many ways, this is just like layering an attack sound onto a patch. 
I've been considering splicing on a reverb tail from a completely 
different sound from the original patch. I think this might produce 
something really spacey, but I haven't had a chance to try it yet.

I've also been using EQ on the reverb, but I'd like to try a VCF 
instead. Maybe opening or sweeping the filter during the release stage 
would produce an interesting effect.

Any other thoughts?

Joe