#Big sky valhalla shimmer movie
#Big sky valhalla shimmer software
#Big sky valhalla shimmer code

I am adding a new algorithm to the upcoming ValhallaRoom update, but actually seeing Prometheus put an end to that naming scheme Red Letter Media summarizes my thoughts on this subject. I named several of the algorithms after spaceships and places in the first 2 alien movies (Narcissus, Nostromo, Sulaco, LV-426).

#Big sky valhalla shimmer movie

At the time I was developing these, the movie Prometheus was in production, which prompted me to revisit the Alien movies. These new algorithms had lusher modulation, and a much slower attack. Later on, I got bored, and started developing algorithms that didnвЂ™t particularly sound like physical spaces. The first algorithms I developed for ValhallaRoom were named after rooms and chambers.

Hall: Long delays in the initial sound (30~120mS), slow build, poor high end response, moderate diffusion build, moderate bass respopnse.Дigital: (this should be a popular option) Beautifully dense, no ringing, extended response with sparkling highs, deep bass response (when wanted), cascading showers of even tonality. Room: Fast build, short (~10mS) and multiple initial reflections, ringy in the mid frequencies, high frequencies depend on wall treatment, bass variable. Plate: Immediate build of diffusion, uncorrelated outputs, strong high/mid response (which rings), rapid rolloff of high frequencies, poor bass response. Keith goes on to give a good overview of how he named reverb algorithms: Personally, I think the tendancy to name algorithms after physical structures is unfortunate, because we have the ability to make much nicer acoustic environments with digital hardware than most real world structures allow, with the possible exception of a parking garage I ran into onceвЂ¦ Since the digital methods that approximate the acoustics of physical structures are recent compared to the acoustical impressions spaces have given over the course of human history, and since most folks donвЂ™t think in terms of reverb algorithms, we donвЂ™t call a plate a вЂњspacially uncorrelated, extreme reflection density reverberator with distinct ringing and a multiorder high frequency lossвЂќвЂ¦ We call it a plate. To the best of my knowledge, with the exception of some possible inside jokes that I have not been privy to, reverbs are named according to their sound. The whole thread at the Spin Semiconductor forum is worth reading, so hereвЂ™s a few choice quotes from Keith (R.I.P.): Several years ago, I asked Keith Barr about naming conventions for digital reverbs, and whether there was any вЂњstandardвЂќ for how reverb algorithms were named. A physical plate has all sorts of weird characteristics that arenвЂ™t usually captured in the digital models. Even a small room would tax modern CPUs, if modeled accurately. A real hall will have a few orders of magnitude more modal density than can reasonably be achieved with an algorithmic reverb. However, when you are creating algorithmic reverbs, the name has very little to do with the corresponding physical structure. Hall, Room, Chamber, Plate, that sort of thing.

The easiest names are to adopt the names of physical structures, that people are familiar with. Plus, the same structure can sound markedly different, depending on the delay lengths, how the coefficients are set, the filtering used, and so on. Things like вЂњBigFDN32,вЂќ or вЂњAllpassLoop8.вЂќ However, these names donвЂ™t mean anything to people that donвЂ™t design reverbs. It turns out that it is a little tricky to come up with names for all these algorithms.Дuring the development stage, I tend to name the algorithms after the internal structure. IвЂ™ve released several dozen in plugin form, and have written hundreds more. For most users itвЂ™s a cheaper, more flexible and more convenient alternative to the original hardware.IвЂ™ve created a lot of reverb algorithms at this point in time.

#Big sky valhalla shimmer code

Universal AudioвЂ™s Lexicon 224 Reverb plugin uses exactly the same algorithms and control processor code found in the final iteration of the 224.

#Big sky valhalla shimmer software

However, itвЂ™s impossible to ignore the fact that software emulations of digital reverb units are all but indistinguishable from the real thing. More affordable Lexicon units such as the later PCM range offer a similar sound at a lower price point.

The iconic status of the 224 means that a good working unit still commands a relatively high price, typically in the region of ВЈ1,500. ThatвЂ™s not to say that they didnвЂ™t sound good indeed, with its 12-bit AD and DA conversion (again, the highest quality available at the time), the 224 offered exceptionally long, clear reverb tails. Before the advent of convolution reverbs and more advanced forms of algorithmic modelling, the standard was for all digital reverb units to be based on relatively simplistic delay-based algorithms (albeit running on what was at the time cutting-edge digital signal processing hardware). The 224 in particular marks an early high point for algorithmic reverb. Some of the smoothest, most useable reverb algorithms ever produced