Here I am in 2021, scratching my head trying to figure out how to buffer samples in JUCE while the guys in the 70's were writing DSP algorithms in assembly... truly mind boggling.
Can you elaborate on why there’s a gap between now and only like 50 years ago. I’m thinking of pursuing a career in DSP and I’m just chilling watching these videos and I’m like man tf is going on with this “Archaeology” topic. I’d love to know more
@@robertodagostini4946 Technological advancement and the advent of the Prosumer Music technology industry in combination with large advancements in microprocessor technology and the resulting ease of access to music technology. More creatives than ever can make music and the role has switched from the artist making their own tools to the tools being made available for purchase by audio engineers. That's why there's such a large gap.
This was amazing and so much better than the "like and subscribe" kids with their GoPro and intro graphics. It really helped me understand where reverb came from and the meaning behind the parameters that we can adjust in a DAW/plugin. Admittedly, I don't have the background to make it past the first 35 minutes but I'm sure it was just as fabulous for those of you who do. THanks a ton for this.
This is so fascinating! Sean, thanks so much for doing this. I'm dabbling in DSP myself and come from a scientific background, so it's wonderful to hear a more detailed and scientific analysis of the different reverbs and acoustic phenomenon. Can't thank you enough.
Priests of the time mentioned at the beginning were speaking latin anyway and didn't expect common folks to understand anything anyway. Otherwise, great presentation, much learns, thanks!
Thank you so much for recording and sharing this. Love Sean Costello referring to the 80's as "the olden days". Understand that in terms of signal processing it is but still made me grin.
Fantastic! I've watched this 3 or 4 times now. Massive respect for Sean and Valhalla. I tried to look up the Seattle Music Machine Salon to see if this was a one-off event or temporarily paused with the shutdowns, but found the website is offline. Does anybody know if this will resume? I recently moved back to Vancouver (CA, now WA) and would happily make the trip down for the next one now that borders are open again.
I stopped doing SMMS when the pandemic came around. Sadly, I find myself too busy to think about organizing it again for the time being. As far as synthy things in Seattle to come down for, the Velocity fest Aug 27-28 will be a great event! There are a few other videos online from SMMS talks on this channel.
Great talk! (Still going over the whole video so I apologize if some of this is addressed in the video further along) 36:30 - Jon Dattorro designed the algorithms for Ensoniq's ESP effects chips, prior to 1994 (the EPS 16+ and ASR-10 came out well before 1994, approx. 1990-1992) so it's interesting that Lexicon tried to prevent him from publishing his work, as he'd already probably done most of it already for Ensoniq (eventually bought by Creative Labs, who killed all of the IP in preference to their previous E-mu acquisitions, so sad)... I actually mailed Mr. Dattorro earlier in 2019 asking if he'd consider a modern re-release and he didn't rule it out, but was leaning towards a VSTi type release in partnership with someone who could do the actual implementation (hint, hint....). Personally I'd prefer a 'hardware' unit with plugs please :) Would you ever consider re-modelling the ESP (?) algorithms designed by Jon Dattorro (esp. the huge 'hall' reverbs) from the Ensoniq ASR-10, DP/4 etc? I have never heard another reverb that's capable of sustaining a sound for 2+ minutes(!). I have no personal experience with the Lexicon, but Ensoniq's EFX actually beats the Lexicon 224's '70 seconds' by a wide margin. I'd have to dig out my DP/4, but I do believe some parameters go to '120 seconds' and used it in some ambient tracks for exactly that reason. There are resources online incl. old diagrams and dev docs on the algorithms the ESP used, and the Ensoniq docs for those units show block diagrams that are probably useful to an effects designer such as yourself (and Mr. Dattorro filed patents, which now are likely expired and could be used for research) so hopefully it could be re-implemented in modern hardware or software. I regret selling my ASR-10 and would absolutely *love* a small modern box that could do those same reverbs.
I implemented the Dattorro-Griegsinger reverb in the AES paper and you can hear it in the browser here: khoin.github.io/DattorroReverbNode/ I plan to implement the first one shown in this presentation, but that will need to find its own time.
@@Carlo24515 Thanks! Also, I just want to note that it should work with the latest versions of Chrome and Firefox, where WebAudio AudioWorklet is supported.
@@p07a Yeah I've been working on a project with audio worklets recently. Holding out that they'll be supported by all mainstream browsers in the near future. With WebAssembly, it seems like it could be pretty next level for the Web Audio API.
5 лет назад
Extremely interesting, very well presented. Fascinating. Thank you!
Indeed classical music was often written and defined by the space it was going to be performed in.Intricate Mozart in small chambers to Gregorian chants in huge spaces.
Here I am in 2021, scratching my head trying to figure out how to buffer samples in JUCE while the guys in the 70's were writing DSP algorithms in assembly... truly mind boggling.
I know exactly how you feel...
Can you elaborate on why there’s a gap between now and only like 50 years ago. I’m thinking of pursuing a career in DSP and I’m just chilling watching these videos and I’m like man tf is going on with this “Archaeology” topic. I’d love to know more
@@robertodagostini4946 Technological advancement and the advent of the Prosumer Music technology industry in combination with large advancements in microprocessor technology and the resulting ease of access to music technology. More creatives than ever can make music and the role has switched from the artist making their own tools to the tools being made available for purchase by audio engineers. That's why there's such a large gap.
"'m really happy I'm doing the accelerate in case Apple ever pulls the plug and just moves everything over to ARM" This aged well.
Wow! It's Mr Supermassive DSP himself! Total respect dude! Homage! ;D
This is gold. I love that this is available.
Yeh like wow, it's the man himself explaining how it all works....amazing...
I love how his head darts up to check the room's response to what they're hearing. I love that. You can tell he loves what he does.
This was amazing and so much better than the "like and subscribe" kids with their GoPro and intro graphics. It really helped me understand where reverb came from and the meaning behind the parameters that we can adjust in a DAW/plugin. Admittedly, I don't have the background to make it past the first 35 minutes but I'm sure it was just as fabulous for those of you who do. THanks a ton for this.
Love this guy!
Valhalla Vintage Verb and Delay - my most used FX plugins and best money spent on FX plugins. Thanks so much, Sean Costello!!!
This is so fascinating! Sean, thanks so much for doing this. I'm dabbling in DSP myself and come from a scientific background, so it's wonderful to hear a more detailed and scientific analysis of the different reverbs and acoustic phenomenon. Can't thank you enough.
Thanks a lot for the awesome material ! I wish everyone a reverberant new year :)
Reverb design is an art for sure.
Priests of the time mentioned at the beginning were speaking latin anyway and didn't expect common folks to understand anything anyway. Otherwise, great presentation, much learns, thanks!
Super interesting interview! Thank you!
Thank you so much for recording and sharing this. Love Sean Costello referring to the 80's as "the olden days". Understand that in terms of signal processing it is but still made me grin.
Genius at work
Your plugins are absolutely TOP notch , especially vallhalla delay
Keep up the god work
Extremely interesting. I love listening to knowledgeable people. Valhalla is my favourite company as far as effects are concerned
Fantastic! I've watched this 3 or 4 times now. Massive respect for Sean and Valhalla.
I tried to look up the Seattle Music Machine Salon to see if this was a one-off event or temporarily paused with the shutdowns, but found the website is offline. Does anybody know if this will resume? I recently moved back to Vancouver (CA, now WA) and would happily make the trip down for the next one now that borders are open again.
I stopped doing SMMS when the pandemic came around. Sadly, I find myself too busy to think about organizing it again for the time being. As far as synthy things in Seattle to come down for, the Velocity fest Aug 27-28 will be a great event!
There are a few other videos online from SMMS talks on this channel.
Interesting and food for thought
This is absolutely brilliant stuff...
So inspiring!
So informative. Thank you!
Great talk! (Still going over the whole video so I apologize if some of this is addressed in the video further along)
36:30 - Jon Dattorro designed the algorithms for Ensoniq's ESP effects chips, prior to 1994 (the EPS 16+ and ASR-10 came out well before 1994, approx. 1990-1992) so it's interesting that Lexicon tried to prevent him from publishing his work, as he'd already probably done most of it already for Ensoniq (eventually bought by Creative Labs, who killed all of the IP in preference to their previous E-mu acquisitions, so sad)...
I actually mailed Mr. Dattorro earlier in 2019 asking if he'd consider a modern re-release and he didn't rule it out, but was leaning towards a VSTi type release in partnership with someone who could do the actual implementation (hint, hint....). Personally I'd prefer a 'hardware' unit with plugs please :)
Would you ever consider re-modelling the ESP (?) algorithms designed by Jon Dattorro (esp. the huge 'hall' reverbs) from the Ensoniq ASR-10, DP/4 etc? I have never heard another reverb that's capable of sustaining a sound for 2+ minutes(!). I have no personal experience with the Lexicon, but Ensoniq's EFX actually beats the Lexicon 224's '70 seconds' by a wide margin. I'd have to dig out my DP/4, but I do believe some parameters go to '120 seconds' and used it in some ambient tracks for exactly that reason.
There are resources online incl. old diagrams and dev docs on the algorithms the ESP used, and the Ensoniq docs for those units show block diagrams that are probably useful to an effects designer such as yourself (and Mr. Dattorro filed patents, which now are likely expired and could be used for research) so hopefully it could be re-implemented in modern hardware or software. I regret selling my ASR-10 and would absolutely *love* a small modern box that could do those same reverbs.
Glad you liked the video-you can contact Sean at valhalladsp.com.
I implemented the Dattorro-Griegsinger reverb in the AES paper and you can hear it in the browser here: khoin.github.io/DattorroReverbNode/
I plan to implement the first one shown in this presentation, but that will need to find its own time.
@@p07a Hey, sounds dope! thanks for sharing
@@Carlo24515 Thanks! Also, I just want to note that it should work with the latest versions of Chrome and Firefox, where WebAudio AudioWorklet is supported.
@@p07a Yeah I've been working on a project with audio worklets recently. Holding out that they'll be supported by all mainstream browsers in the near future. With WebAssembly, it seems like it could be pretty next level for the Web Audio API.
Extremely interesting, very well presented. Fascinating. Thank you!
I had a Yamaha reverb a while back and could never get over that disturbing modulation. I sold it, kept the Lexicon.
This is awesome. Thank you!
informative. thank you
Thanks for posting this!
Where's the natural sounding reverb algorithm you were working on Sean? THE PEOPLE DESERVE TO KNOW
Maybe a snare sound as a signal would have made the reverb sound more noticable?
Indeed classical music was often written and defined by the space it was going to be performed in.Intricate Mozart in small chambers to Gregorian chants in huge spaces.
funny how at 46:00 he talks about being safe from apple "pulling the plug and moving to arm" when in fact they do the next year
Thanks for the amazing video, and the amazing plugins! -60db is 1/1,000,000 of the original reverb strength, not 1/1,000, no?
Each 6dB is half the voltage. Halve something 10 times, and then it's 1/1024 the original.
fascinating! thanks!
pleasant video.
So sorry tjat many people forgpt abput Michael Gerzpn who pionneered and published about FDN in 1972.
Oh and I missed spring reverbs...
9:55 All I can think about now is ruclips.net/video/ZwnGpHYxn0I/видео.html