There are no good references for designing reverbs because the info falls under 'Trade Secrets' in the audio industry. I develop commercial reverbs and other effects as part of my job and can give you a few tips:
- FDN is not used in any of the 'classic' reverb designs (Concert Hall,
Plate, Chamber, etc). Eventide did start to use it in the late 80s, but their most famous reverb is not FDN based at all. A number of plugins and devices do use FDN now mostly for 'Room' type algorithms.
- The few patents for old reverb boxes are not very useful because they
leave out all of the 'secret sauce'.
- Modulation is where the magic happens.
- Andy's on to something with investigating mathematical sequences and
ratios
- Interpolation. When to do it and how to do it is also key.
- Filters. what type and where to use them
- Phase. Relates to filters and interpolation and creates some surprising
results when used well.
- Move to Boston. Almost all of the major reverb developments where done
here: Blesser(EMT/Lexicon), David G(Lexicon), Chris Moore(Ursa Major), Bill Gardner and so on. I think Miller even wrote the FDN paper at MIT.
Chris
On Wed, Feb 6, 2019 at 8:26 PM Alexandre Torres Porres porres@gmail.com wrote:
Hi, I've read miller's book and I've always wanted to know a bit more about reverbs. I also want to better explain these examples to my students. One thing I wonder is about the choice of delay lengths for the early reflections and also for the recirculating delay lines. They seem quite arbitrary, right?
All I could make of it is that these numbers are just broken down so they don't become multiples of each other, resulting in a rather complex mesh of reflection times.
But also, it seems that a "room size" parameter can be controlled by the size of the delay lines, right?
Anyway, I'd appreciate if I could learn more about these abstractions and also some cool references for study (such as "digital reverb modelling for dummies").
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