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Lexicon LXP Bundle
Old 15th August 2012 | Show parent
  #151
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Filthrill ➡️
I too was trippin' on this. The "Other" part.
Add me to the list! Such a minor fix...
Old 15th August 2012 | Show parent
  #152
ValhallaDSP
 
seancostello's Avatar
 
🎧 10 years
Quote:
Originally Posted by Michael Carnes ➡️
In the 480L and the 300 (those were Griesinger algorithms), the ERs were not randomized. In the 960L they were. I again removed the randomization of the ERs from the PCM96 and the plugs (the room algorithm). While randomization is sonically more pure, it suppresses a lot of the cues people listen for. My intentions were a little different from Dave's. He was looking to capture some of the reflections from his favorite seat in Boston Symphony Hall. I'm not sure the old ambience algorithm had enough reflections to actually do that, but it sounded nice anyway. My intention with 'Room' was to have some nice ones (to be sure), but also some problematic and noticeably colored early stuff. That stems from a conversation I had with a well-known audio post guy who complained our stuff was too nice for a lot of the ADR needs he had. So I put some sucky stuff in there too.
You got a blog yet, Michael? These are the sorts of stories that I never get sick of.

I've been thinking about the original 224 Concert Hall algorithm a lot lately. I'm trying to figure out if the output taps were somehow modeled around Boston Symphony Hall, and the rest of the algorithm was designed to "fill in the gaps" between these taps. Any thoughts, that can be discussed at a non-classified level?

I can figure out many of these old algorithms from a technical perspective, but the motivations of the designers are a mystery, and are something I am interested in. From what I have read in Griesinger's articles, Symphony Hall seems to be a touchstone for much of his work. I'd love to hear about what reverb touchstones you have had over the years.

As far as randomizing early reflections, I wonder if the randomization could occur after a few fixed taps are heard. The idea being that the first few taps establish the spatial image, with the rest of the early energy filling in the gaps, and being perceived as "well, there's something there."
Old 16th August 2012 | Show parent
  #153
Lives for gear
 
Filthrill's Avatar
 
🎧 10 years
Quote:
Originally Posted by Izzi ➡️
Add me to the list! Such a minor fix...
Exactly. Annoying, but not as annoying as the T-Racks stuff. U have to hold the Command key (Mac) & click to return a knob to its default position. On just about every other plugin u hold the Option key & click (correct way). The Kuassa basiQ EQ is ass-backwards too. What's wrong w/ these people?
Old 16th August 2012 | Show parent
  #154
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by seancostello ➡️
You got a blog yet, Michael? These are the sorts of stories that I never get sick of.
Jeez man, I don't even have time to sleep. Don't think a blog is in the cards.

Quote:
I've been thinking about the original 224 Concert Hall algorithm a lot lately. I'm trying to figure out if the output taps were somehow modeled around Boston Symphony Hall, and the rest of the algorithm was designed to "fill in the gaps" between these taps. Any thoughts, that can be discussed at a non-classified level?
As I'm sure you know, a certain former Lex employee published an architecture of Concert Hall many years ago. For this, he is not a well-regarded figure in Lexicon memory. I haven't seen his writeup, since I had access to something closer to the original. So I don't know how accurate it might be. But I can say that there's nothing about the Concert Hall taps that evokes Symphony Hall in any way. The architecture is just plain odd. But it has an interesting appeal, doesn't it? The thing is barely stable if you don't chorus (and sounds horrible when it's standing still), and of course the act of chorusing means that any similarity to any physical space is completely lost.
As far as I know, the old Ambience algorithm was the only time that Dave attempted a true partial physical modeling of any place. And of course even that disappears as soon as you bring up diffusion!
Old 16th August 2012 | Show parent
  #155
ValhallaDSP
 
seancostello's Avatar
 
🎧 10 years
Quote:
Originally Posted by Michael Carnes ➡️
Jeez man, I don't even have time to sleep. Don't think a blog is in the cards.
Well, I hope you do blog someday. You've got a lot of interesting stories about this stuff.

I know that "no sleep" phase you are in, when you are getting going on your own work. It's kinda similar to having a new baby in the house. The same advice applies in both situations: YOU WILL SLEEP AGAIN...someday. For now, get as much exercise as you can. An hour or two outdoors will increase your work efficiency, so the time lost to exercise will be gained in productivity.

Quote:
As I'm sure you know, a certain former Lex employee published an architecture of Concert Hall many years ago. For this, he is not a well-regarded figure in Lexicon memory. I haven't seen his writeup, since I had access to something closer to the original. So I don't know how accurate it might be.
I found the writeup a few years back. It matches pretty well with the structure I have seen / heard in other places, but I can't vouch for the delay times shown. As far as I can tell, the architecture was based on reverse engineering post-Lexicon, but people internal to Lexicon probably have a better idea of what the employee learned while at Lexicon.

Quote:
But I can say that there's nothing about the Concert Hall taps that evokes Symphony Hall in any way.
That's what I thought. So the output taps were probably chosen once the need for output taps was realized, rather than any physical matching of an existing structure.

Quote:
The architecture is just plain odd. But it has an interesting appeal, doesn't it? The thing is barely stable if you don't chorus (and sounds horrible when it's standing still), and of course the act of chorusing means that any similarity to any physical space is completely lost.
The cool thing about the Concert Hall architecture is that the chorusing does triple duty - literally. Without the chorusing, there is no way of avoiding ringing, but once the chorusing is turned up, things get lusher than in other reverb structures. You can still hear the ringing on long decays, even with modulation - it just becomes a "wetter" ringing.

Quote:
As far as I know, the old Ambience algorithm was the only time that Dave attempted a true partial physical modeling of any place. And of course even that disappears as soon as you bring up diffusion!
I haven't heard this algorithm. Which box did Ambience first show up in?
Old 16th August 2012 | Show parent
  #156
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by seancostello ➡️
I haven't heard this algorithm. Which box did Ambience first show up in?
It's the one in the 480L and the 300. The version in the PCM90/91 is pretty much the same as well.
Old 16th August 2012 | Show parent
  #157
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by seancostello ➡️
For now, get as much exercise as you can. An hour or two outdoors will increase your work efficiency, so the time lost to exercise will be gained in productivity.
Couldn't agree more. A few miles of walking every day, some weights. 8-10 mile hike most weekends at high elevation. That's where my thinking (if any) happens. That's unfortunately not a common practice in the music or technology industries, but it sure makes you feel better. Then it's back to the danged computer...
Old 6th October 2012
  #158
Lives for gear
 
Aiyn Zahav's Avatar
 
11 Reviews written
🎧 15 years
Just trying these out now. They are brilliant. I am used to Aether and Relab LX480. Both are beautiful sounding reverbs but both had problems for me. LX480 is only a RH algorithm and I've found that part of my problem is that halls just arent what work for my mixes.

This LXP gives me something I've been looking for, it doesn't make me believe the sounds are in a real space, I make dance music so that doesn't fit my needs anyway, but it does give a sense of some kind of space, a big one. It adds dimension to the sound, instead of simply adding a reverb tail.

Anyway, got to try the PCM bundle now, those effects are quite appealing and I want to check them out. It seems to me like I'd be quite happy with the LXP, but I am curious.
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