Eventide h910 gearslut trial#
Eventide h910 gearslut license#

The results of my studies can be heard in my latest plugin, ValhallaVintageVerb.

The modulation in my PCM70 is noisy as all get out. I think that the modulation source in the older Lexicons had a lot more to do with the noise performance than I had originally thought. The noise and high frequency attenuation will increase every time it passes through the reverb network, and a 70 second decay time results in a few hundred passes through the allpass delays.Р В РІР‚СњР вЂ™Р’В®DIT (): Since I wrote the above, I have spent a lot of time studying the Lexicon modulation. Since the sampling rate in the 224 was pretty low in the first place, the attenuated high frequencies were quite audible with long decays. The linear interpolation also results in attenuated high frequencies above 1/2 the sampling rate. This resulted in a Р В Р вЂ Р В РІР‚С™Р РЋРЎв„ўhaloР В Р вЂ Р В РІР‚С™Р РЋРЎС™ of noise around reverbed signals, where the noise was less signal dependent than the clipping noise described above. The 224 had a quirky multiplier, which resulted in the linear interpolation being quantized to fairly big subsample chunks (I think it was 32 or 64 chunks per sample). The modulation in the Lexicon 224 also produced distortion, but of a different sort. Instead, it tends to produce a somewhat higher noise floor with broadband audio signals (i.e. Strangely enough, adding clipping into the nodes of a Lexicon-style reverb network doesnР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›t end up producing the classic tape echo runaway feedback at most settings. This results in clipping at various points in the digital reverb network. The allpass delays used by the 224 also had fairly high internal gains, especially with long reverb times. Translated into English, this means that the 224 had about 24 dB of headroom internally (4X the max input volume) before things started clipping. The Lexicon 224 used a fixed point processor, with a 16-bit word size, and a 20-bit saturating accumulator. Listen to Р В Р вЂ Р В РІР‚С™Р РЋРЎв„ўCreation du MondeР В Р вЂ Р В РІР‚С™Р РЋРЎС™ by Vangelis for an amazing Р В Р вЂ Р В РІР‚С™Р РЋРЎв„ўreverbР В Р вЂ Р В РІР‚С™Р РЋРЎС™ sound that comes from 3 RE-201 Space Echos: The earliest Р В Р вЂ Р В РІР‚С™Р РЋРЎв„ўlongР В Р вЂ Р В РІР‚С™Р РЋРЎС™ electronic reverb sounds were based around tape delays, possibly running into a spring or plate reverb. So any little quirk in the feedback path, like interpolation noise or fixed point distortion, will be increased on each pass through the feedback loop. In order to get a 30 second decay out of the reverb, the sound will be going around those loops (30.0/0.1) timesР В Р вЂ Р В РІР‚С™Р вЂ™Р’В¦or 300 times. A good rule of thumb is that the average delay lines in a reverb are 0.1 seconds or shorter in length. This can be explained as a consequence of the feedback nature of the algorithms, and how feedback causes the characteristics of the loop to be magnified exponentially.Р В РІР‚СњР В РІР‚С›lgorithmic reverbs tend to be made up of short delay lines, with LOTS of feedback applied. However, even if the output level is reduced to a level that isnР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›t clipping within the DAW, sometimes various forms of distortion and noise can be heard. Increasing the decay time means turning up the internal feedback gains, and this often results in an output sound with a very high RMS level. In some cases, this is due to the high signal levels of the output. The distortion observation is a good one, as this can often be heard with very long decays in algorithmic reverbs. When it comes to reverb, is there close relation to distortion in some ways? I guess when IР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›m listening to big verbs with high decay times it makes me wonder that because at times a big, wet verb can have some distortion-type characteristics.

Racking a PPG Wave 2.Over on Gearslutz, AstralPStudios asked an interesting question:.

Racking a PPG Wave 2.2 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ part 2 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ display change.

LinnTraks Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ SCI Drumtraks with LinnDrum samples.

PPG wave 2 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ loading programs from CASSETTE.

Racking a PPG Wave 2.2 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ part 3 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ battery change, v8.3 upgrade, service, measurements.

PPG wave 2 Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ cassette interface pinout & factory program dumps.

IР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›ll probably have to write a separate post on that! The H910Р В РІР‚в„ўР вЂ™Р’В is a nice addition to my Р В Р вЂ Р В РІР‚С™Р РЋРЎв„ўvintageР В Р вЂ Р В РІР‚С™Р РЋРЎС™ plugin arsenal.

Eventide h910 gearslut license#

You can of course put the license on the dongle, if you prefer that. I think this offer is available for the rest of November.Р В РІР‚СњР вЂ™Р’В«y the way, you need an iLok account, but you donР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›t need an iLok dongle. The Black Friday price is $99 (down from $249), but since I have anР В РІР‚в„ўР вЂ™Р’В account on JRRShop,Р В РІР‚в„ўР вЂ™Р’В I got it for $84. IР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›d suggest downloading it and trying it out. This thing has character, no doubt about it.

Eventide h910 gearslut trial#

I downloaded the trial a couple of days ago, and found it really inspiring! You could do some really crazy stuff with it, and thereР В Р вЂ Р В РІР‚С™Р Р†РІР‚С›РЎС›s always someР В РІР‚в„ўР вЂ™Р’В use for it whether you put it on theР В РІР‚в„ўР вЂ™Р’В LinnDrum, a Microwave or on the Prophet 5!Р В РІР‚СњР В РІР‚С›nother really fun thing is that after playing around, tweaking and getting to know it, I nowР В РІР‚в„ўР вЂ™Р’В can now identify it in plenty of songs.

Long time, no blog updates Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ but Р В Р вЂ Р В РІР‚С™Р Р†Р вЂљРЎС™ today is Black Friday, and even though I prefer Blue Monday, I took the plunge and purchasedР В РІР‚в„ўР вЂ™Р’В the Eventide H910 Harmonizer plugin.