Add me to the list! Such a minor fix...

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."

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?

Jeez man, I don't even have time to sleep. Don't think a blog is in the cards.

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!

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.

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.

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.

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.

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.

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...

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.