The Concert Hall algorithm is also distinguished by its high degree of modulation. This algorithm has a fairly low initial echo density, that builds to a higher density as the decay evolves. The “224 Hall setting” that Killen refers to is the Concert Hall algorithm in the Lexicon 224. The circuitry on this card added a “smart” algorithm to pitch change, adjusting the transitions to better match voltages at the in and out points. Both Eventide (on the H949) and AMS partially resolved this by adding “de-glitch” cards. The Eventide H910 exhibited this, along with the early AMS Harmonizers.
The result was a sort of low level crackle, more obvious with certain kinds of program material, and more audible at extreme pitch change settings. When the out and in points had different voltage levels, a small DC pop could be heard at each transition. Harmonizers, at least the early ones, had to electronically “splice” sections of the waveform in order to accomplish pitch change. Eno and Lanois have both sung the praises of this unit, and Wendy Carlos has said that the AMS unit had “perhaps the least audible artifacts to pitch shifting available at that time.”ĭavid Kulka has written that the AMS DMX had an optional de-glitch card installed, which worked on a similar principle to the auto-correlation deglitcher in the H949. The AMS DMX 15-80s was a digital delay / sampler / pitch shifter that was in common use in Britain in the early 1980’s. We may have added a second delay but then the delays have to be timed to the track as the net effect is blurring the chord progression…Our last tweak would be to play with the sends on all of the returns to the point that its almost recirculating out of control, which in turn is creating a layer upon layer effect. This return may have been equalised also. On its fader return, some hi frequencies were rolled off, then it was fed into a 224 Hall setting, probably 5 seconds but with a rolloff in the top and bottom. The delay and modulation was derived from the AMS 1580. Kevin Killen, answering a question about the signal flow on the U2 song “4th of July” on Gearslutz, described the signal path as follows: This is the same technique used by ValhallaShimmer, with the reverberation, pitch shifting and feedback all incorporated within the same plugin. By controlling the gain and equalization of the feedback loop, and the lengths of the various delays within the loop, the temporal evolution of the sound can be altered from steel drum-esque sounds to the slow attack “string pads” hear on many of the Eno/Lanois tracks. – Bypass, which turns off the pitch shifting (useful for “standard” reverb sounds).The basic foundation of the Brian Eno / Daniel Lanois shimmer sound is fairly simple: Create a feedback loop, incorporating a pitch shifter set to +1 octave, and a reverb with a fairly long decay time. Similar to the Dual mode, but with reversed grains, for a smoother pitch shifting sound. This results in a smoother pitch shifting sound than the Single mode. – SingleReverse, where each grain is reversed before it is pitch shifted. – Dual, where the feedback is shifted both up and down (in parallel) by the Shift value. – Single, where the feedback is shifted up or down by the Shift value.
In addition, ValhallaShimmer has the ability to pitch shift the feedback signal. – Two tone controls and the Color Mode selector allow the timbre to be adjusted from bright and glistening to a more natural dark decay, similar to that produced by air absorption in large spaces. – The modulation controls can be set to produce subtle mode thickening, glistening string ensemble-esque decays, and the distinctive random modulation of the older Lexicon hall algorithms. – By adjusting the Feedback, Diffusion and Size controls, the attack, sustain and decay of the reverb signal can be fine tuned. There are several reverberation modes available: At the same time, the algorithm has been highly optimized, so you get a huge reverb sound without straining your CPU.Īt its core, ValhallaShimmer is a high quality reverberator, designed to produce a smooth decay, that is both dense and colorless. All of the sliders have been designed to be tweaked in real time and have a smoothed response to avoid clicks when changing settings or automating the controls.
ValhallaShimmer is an algorithmic reverb designed for BIG sounds, from concert halls to the Taj Mahal to the Halls of Valhalla.
0 kommentar(er)
