Saturday, July 19, 2014

AltiSpace - Convolution Reverb

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The realistic sound of famous reverb gears for your iPad and iPhone!

Includes a large built-in library of the highest quality reverb impulses taken from actual devices and the possibility to upload your own reverb space impulses. Intuitive and compact user interface for maximum ease and efficiency.

Use this application together with Inter-App Audio hosts (like a DAW, Recorders or Audio file managers) or with Audiobus for adding studio quality reverberation effects to the sound of other music applications or pre-recorded tracks.

AltiSpace can also be used with external audio interfaces for real-time sound processing. Suitable for live performance or in the studio together with other equipment.

See detailed overview and how to work with AltiSpace (Music App Blog)

iPad Screenshot:


iPhone screenshots:


What is the convolution reverb?

Briefly, convolution reverb is based on a process that digitally 'captures' the reverb characteristics of another reverb effects unit or the reverb response of a real acoustic space. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the device or space being modeled. The process of convolution multiplies each sample of the audio to be processed (reverberated) with the samples in the impulse response file.

See more about convolution process (Wikipedia)
See more about principle of convolution reverbs (Wikipedia)

Main features:

  • More than 200 samples of factory presets from different devices.
  • High-quality and fast convolution algorithm with 64 bit operations.
  • Wide range of reverberation types such as plates, springs, halls, rooms, etc.
  • Preset hotkeys with possibility to save current sample and all its parameters.
  • Convenient choice sample by device name, by reverb type or in complete list.
  • All processing parameters are stored for each sample.
  • Pre / post parametric equalizer with cut-off filters.
  • Possibility to construct the envelope (like ADSR) for device sample.
  • Adjusting stereo width and modulation for reverb output.
  • Additional mode 'reverb only output' for use with mixing consoles.
  • Possibility to upload additional samples in different audio formats.
  • Uploading samples thru Web access, audio clipboard, from another app and iTunes.
  • Detailed application description with an overview of famous reverb equipment.
  • Different color schemes available for the user interface.

Compatibility:

  • Inter-App Audio compatible.
  • Supports Audiobus in Effect, Input and Output slots.

Requirements: Third generation of iPad or fifth generation of iPhone and higher is recommended (especially with Inter-App audio and Audiobus).

See also list of iOS compatible audio interfaces
See also the most famous reverb gears (overview)

Video demo:


Processing demo:

Famous L480 Large Hall:



EMT140 Reverberation Unit (first plate reverb):



SPX90 Gate Reverb (Preset 16):



ADR68k Nice Chamber:



DN780 Medium Hall:



Famous guitar spring:











Friday, July 18, 2014

AltiSpace - Very detailed review


Very detailed review of AltiSpace with features description and with additional info about different reverbs.

AltiSpace review – new convolution reverb app

I recommend this article to familiar with general features of AltiSpace and know more how to use this app.








Wednesday, July 16, 2014

AltiSpace has been released!

AltiSpace - Convolution reverb for iPad and iPhone has been released!

The realistic sound of famous reverb equipment for your iPad and iPhone! Includes a large built-in library of the highest quality reverb impulses taken from actual devices and the possibility to upload your own reverb space impulses. Intuitive and compact user interface for maximum ease and efficiency.

Use this application together with Inter-App Audio hosts (like a DAW, Recorders or Audio file managers) or with Audiobus for adding studio quality reverberation effects to the sound of other music applications or pre-recorded tracks.

Main features:

  • More than 200 samples of factory presets from different devices.
  • High-quality and fast convolution algorithm with 64 bit operations.
  • Wide range of reverberation types such as plates, springs, halls, rooms, etc.
  • Preset hotkeys with possibility to save current sample and all its parameters.
  • Convenient choice sample by device name, by reverb type or in complete list.
  • All processing parameters are stored for each sample.
  • Pre/post parametric equalizer with cut-off filters.
  • Possibility to construct the envelope (like ADSR) for device sample.
  • Adjusting stereo width and modulation for reverb output.
  • Additional mode 'reverb only output' for use with mixing consoles.
  • Possibility to upload additional samples in different audio formats.
  • Uploading samples thru Web access, audio clipboard, from another app and iTunes.
  • Detailed application description with an overview of famous reverb equipment.
  • Different color schemes available for the user interface.










The most famous reverb gears

Several famous reverb gears, everything with own unique presets and sounding.

Lexicon 480L

In 1986, Lexicon released the 480L (costing more than some cars), a successor of the 224XL model.

Introduction (from Owners Manual)

The 480L is engineered for the all-digital production environment. Digital audio places strict requirements on every link in the signal chain, and the 480L meets those requirements. With its unique 18 bit A/D and D/A converters, the 480L produces a dynamic range of 98 dB in the wet signal path. It is probably the only effects system available that doesn't raise the noise floor of a digital master. And the PCM 1610/1630 compatible digital I/O interface lets you add true stereo ambience and effects without leaving the digital domain.

The 480L doesn't just sound bettersheer computational power allows it to perform multiple audio tasks at the same time. And what tasks! In the current glut of throwaway digital devices with ever-cheaper versions of the same sounds, the 480L offers remarkable new effects and reverb sounds.

Its innovative reverb algorithms reflect a more accurate and natural model of the acoustic and psychoacoustic phenomena of reverb and ambience. Put the 480L up against any other reverberator - you'll be amazed at the difference.

Reverb is only part of the story. The 480L produces astonishing effects you haven't even begun to dream about yet. And its sampling programs offer a variety of useful and unique features. The present software is powerful and comprehensive, a dramatic step forward in digital signal processing technology. Yet it hasn't explored the limit of the 480L's architecture, which is itself configured for future hardware expansion.


Lexicon 300

Introduction (from Owners Manual)

The 300 not only contains the finest sounds, as you've come to expect from Lexicon, it incorporates new functions that satisfy the needs of today's audio production.

Analog and Digital Audio Interfacing

For both analog and digital use the 300 takes full advantage of recent advances in converter technology and combines them with flexible digital interfacing. The A/D and D/A converters use oversampling techniques to minimize low-level distortion and provide linear phase characteristics. 64x oversampling Delta/Sigma conversion is used in the A/Ds; 8x oversampling is used in the D/As. The result is sonic transparency without the artifacts normally encountered in conversion.

Dual DSP Architechture

The 300 utilizes two proprietary high performance DSP engines. The configuration of these engines can be determined by the end-user to suit a particular audio application. The Single Setup configuration unites both DSP engines. Two “split” configurations: Dual Mono and Cascade, allow each DSP engine to run a special program especially designed for “Split“ applications. The Single algorithms include: Random Hall, Random Ambience, Rich Plate, Stereo Pitch Shift, and Stereo Adjust. The “split" algorithms include: Dual Delays, Chamber, Mono Pitch Shift, Compressor, a special mastering dither program called PONS (Psychoacoustically Optimized Noise Shaping), and a small version of Stereo Adjust.

Lexicon Sound

Even with the best functions and features, the heart of any signal processor is its sound. The 300 contains the very best of the Lexicon Sound — with new refinements such as dynamic size parameters in the Reverb and Ambience algorithms. We have also included stereo and mono pitch shifting, delay effects, a mastering algorithm with precision level/balance controls and equalization. These sounds, combined with analog and digital audio I/O, time code based effect change, an internal LFO, and full MIDI automation result in a system that provides new creative options each time you use it. We’re confident you’ll find that the 300’s combination of state-of-the-art sound and extraordinary versatility is exactly what you’re looking for — to make sure you don’t miss out on anything, we’d like you to read this manual. It provides a thorough explanation of both front panel and MIDI operation, digital and analog interfacing, descriptions of the effects and presets, and complete MIDI Implementation data — all the information you need to access the full power of the 300.


Lexicon PCM 60

Released in 1984

Overview (from Owners Manual)

The Lexicon PCM-60 Digital Reverberator is a high-performance, low cost digital reverb designed to be used with a wide range of instruments, stage equipment, and studio mixers. It incorporates the most advanced digital audio processing circuitry available for clean sound and extremely high-quality reverberation.

The unit is a dead-simple bare bones affair, with only two main programs: Plate and Room. For either program, there are two banks of four additional shaping settings: one for decay time, from short to long, and another set for effect size, from small to large, which also affects perceived reverb time. The only other sonic shaping available are two "Contour" filters, one for bass and the other for treble.

The PCM-60's controls are easy to use, offering flexible operation and a logical layout. Front panel LEDs light to indicate selected functions, and a five-segment headroom indicator has been included for precise input level monitoring.


AKG ADR 68k

In 1986 acquisition of Boston based Ursa Major was transformed into the Digital Products Division of AKG Acoustics. The first product by the new Division is the ADR 68K.

Recording Engineer/Producer magazine. March 1989.

16 Bit Sampling, Total Midi, 150 Effects, ... And One More Thing.

AKG's ADR 68K is the signal processing device that does it all.

SAMPLING. 16 bit stereo or mono multi-sampling (up to 32 seconds) with pitch shift, adjustable attack and decay, flexible output mixing, up to 12 simultaneous voices, support for MIDI sample dumps, triggering by audio input, MIDI or foot pedals.

MIDI. Program changes, freely mappable parameter changes, total automation in conjunction with sequencers, real time changes of programs and parameters without glitching or muting, preset register storage and retrieval.

EFFECTS. Seven split programs, many allowing chained or split operation, 40 bit internal DSP processing for high accuracy and low noise, input level or foot pedal can control any effect parameter, Multi Effects Chain with eight simultaneous effects, stereo processing, chorusing, auto panning.

... AND ONE MORE THING. THE ADR 68K IS ALSO A WORLD CLASS REVERB! With smooth, natural reverb programs, easy to use factory presets, more than 40 adjustable parameters, integrated sampling, and versatile reverb gates.

SYSTEM. People-sized remote with six faders, a large 160 character LCD for easy operation, over 10,000 words of built-in context sensitive help, upgradeable software. And more. And more. And... well, we've made our point. The ADR 68K soundslike it does a lot, because it does and it sounds great doing it.


AMS RMX-16

In 1981 AMS introduces the world's first full bandwidth digital reverberator, the RMX16. An instant classic, the RMX 16 would become a firm favourite among producers and engineers the world over. One famous user was Phil Collins who recorded "In the Air Tonight". The unique drum sound was the result of the RMX16.

System Overview (from User Manual)

The RMX 16 digital reverberation system is totally electronic; the sound is completely unaffected by external vibrations or mechanical shocks. Unlike its mechanical counterpart the RMX 16 system does not require special installation. This, together with the large reduction in size, the superior signal to noise performance and the greater bandwidth, gives the RMX 16 significant advantages over old-fashioned mechanical reverberation systems.

With digital reverberation one can simulate mathematically any real environment and also any old fashioned artificial reverberant character such as plates, or springs. Digital reverberation techniques are the first to offer such sophistication.

The RMX 16 digital reverberation system employs sophisticated micro-programmed parallel processing of 16 bit data offering an 18kHz bandwidth; 90dB dynamic range and 0.03% distortion in delay mode; low power consumption (and therefore cool running); independent control of each programs fundamental reverberant parameters; alphanumeric program descriptions for ease of use and "at a glance" understanding of how the unit is currently programmed as all data, including the variables (pre-delay, decay time, high frequency decay profile and low frequency decay profile), are continuously displayed on the reverb front panel.

The systems are designed to be simple to operate with nine factory programs simulating different reverberant environments with the ability to control all parameters. Nine use definable settings may be stored within the mainframe and a further ninety within the remove terminal. The user definable settings may be as complex as required. All reverberation parameters whether factory preset programs or user definable settings, are stored in non-volatile RAM and remain intact on power down.

The nine standard programs are stored in Erasable Programmable Read Only Memory (EPROM) and can only be altered by physical replacement of these devices. However, additional program storage (Softprogs 10 to 12 on the Mainframe and Softprogs 31 to 33 on the Remote Terminal) is available in the Random Access Memory (RAM) area which can be re-programmed with the use of the Remote Terminal and Bar Code Wand combined option (see appendices D and E for further details).


Klark-Teknik DN780

Released in 1985

Overview (from Operators Manual)

The Klark-Teknik DN780 Digital Reverberator Processor is not simply a reverberation device. The DN780 gives the user a unique and flexible means of producing realistic acoustic simulations for environments of all types and sizes. This technical innovation results in extremely high density reverberation with convincing small room performance, authentic concert hall reverberation and a wide ranging choice of basic 'acoustic spaces.' The parameter controls give accurate adjustment off all reverberation parameters and allow the engineer to create unique acoustic environments of virtually any type.

A number of factory-set acoustic simulations based on four reverb types are available via the keypad. These Factory-set memory locations can then be used in their own right as a reference point from which to create your own variations allowing you to let your creativity reign.

Fifty non-volatile memories are available for entering user variations and the sequence function allows instant recall of up to 16 factory or user memories in required order, allowing rapid movements through a series of previously planned acoustical settings for mix-down, film dubbing, T.V. production or live performance.

The remote control unit allows the chosen acoustic setting to be first selected, using the sequence key and then modified using the parameter sliders.


TC Electronic M5000

M5000 Digital AudioMainframe (from User Manual)

The Ultimate Audio Processing Platform

The M5000 Digital Audio Mainframe is unlike any other effects processor you have ever seen. By combining TC DARC™ technology with the skills of the best signal processing software engineers around the world, we have created the perfect mix of effects you have access to in the M5000 today.

What you see is not what you get - you get more! The unique design of the M5000 hardware platform allows for future upgrading of both the software and hardware aspects. It will far outlast any other signal processor you own or can buy today.

Operating the M5000 is a breeze and upgrading it couldn't be simpler. All M5000 owners receive regular, easy to install, software upgrades -featuring the very latest state-of-the-art effects. Add to this hardware upgrades like the impressive ATAC Remote Controller and you have a package that is unbeatable.

To some it may look like any other effects processor - but you know better.

Why a Mainframe?

The purpose of the mainframe concept is the flexibility to keep up with the ever evolving state of technology. New inventions developed because of the advancing needs of professional engineers can be implemented in the mainframe without he need to scrap a valued piece of equipment. Furthermore, only one user interface is needed to control several modules, i.e. the front panel of the ATAC is controlling one module at the time, although all modules installed are active.


Eventide H3000

Released in 1986

First intelligent/diatonic pitch shifting.

The Eventide H3000 Ultra-Harmonizer has found its way into almost every professional studio in the world. It's range of effects and upgradable presets and algorithms have allowed the H3000 to enjoy a long successful life. The H3000 was the first signal-processing unit to do “intelligent” diatonic pitch shifting.

The H3000 is used in both the tracking and mixing processes in the studio for its amazing chorus and distinctive reverb effects, as well as the extremely useful micro-pitch shifting effects which create wide and expansive backing vocal and rhythm guitar tracks in a mix. It is also regarded as the ultimate live guitar FX box. It was used by the Edge, Eddie Van Halen, Steve Vai and many others.

The H3000DSE has 21 algorithms with 600 standard presets, including the presets from the H3000DSX. The H3000 offers a variety of effects, including true stereo pitch shift, pitch-correcting diatonic pitch shift, linear-predictive vocoder, six voice polyphonic synth, and a 19 waveform LFO function generator with full control via a comprehensive MIDI implementation. The multi-shift algorithm allows pitch shifting over a six octave range great for mangling and processing audio. Reverse and layered pitch shift are also available. Also available are instant phaser, multi-band delays, swept comb filter, and ultra-tap delay. The built-in waveform function generator operates like a synthesizer's LFO - its 19 periodic or triggered waveforms plus pink and white noise are assignable to most all parameters of the effects program.

Editing the effects programs is fairly straight forward, and greatly assisted by the well thought out user interface. The front panel features a large green backlit 80 character LCD display with four soft buttons. Parameters can be edited with the data entry knob, up/down buttons, the numeric keypad, or via MIDI. Dual ten segment bar graph meters aid in setting input levels.


Yamaha SPX90

Released in 1985

Overview (from Operating Manual)

The SPX90 is an amalgam of advanced acoustical research and digital technology designed to provide musicians and home recording enthusiasts with a wide range of exciting effects.

The SPX90 Digital Multi-Effect Processor utilizes highly refined LSI (Large Scale Integration) technology to create natural reverberation. Not only is its assortment of 30 preset effects comprehensive enough to suit most studio and performance applications, the SPX90 also allows you to create up to 60 additional effects and store them for instant recall.

Your SPX90 can create effects far beyond mere reverberation, though that in itself is of a truly superior quality. A variety of echo, delay, and special effects - each with comprehensive parameter adjustments - can be accessed at the touch of a switch. And as the SPX90 is MIDI-compatible, it can be programmed to apply separate reverberation effects to a variety of MIDI-compatible instruments.

Your SPX90 Digital Multi-Effect Processor will prove extremely useful in a variety of applications: acoustic electric, PA, MIDI instrument, and home recording systems. In order to take advantage of the vast potential of this component, we urge you to study this manual before connecting the SPX90 to your system. We at Yamaha thank you, and wish you years of enjoyment with your SPX90.


Reverberation Unit EMT 140

German company EMT (Elektromesstecknik) made a huge breakthrough in 1957 with the release of the EMT 140 Reverberation Unit - the first plate reverb.

Overview (from User Manual)

The use of simulated reverberation for recordlng, broadcasting and TV dates back many years. lt has found many applications both for creating special effects and for optimizing the room acoustical impression in musical recordings. lt has also found application in the creation of three-dimensional effects in stereo recording and for reconstituting mono recordings for stereo release.

The EMT 140 Reverberation Unit is the standard device used throughout the entire world.

The new improved version of the EMT 140, equipped with solid state electronics carries the designation EMT 140 TS and with built-in remote control EMT 140 FB-TS. Besides its ability to acoustically reproduce rooms of various sizes, it is also able to increase the apparent distance between sound source and microphone, For this reason it is possible to use the Fleverberation Unit with maximum success in any of the following situations:

- For dramatic presentations on radio and television as well as for film sound stages for imparting lhe impression of large halls, factories, churches, bathrooms, cellars and many others.

- For recording of popular dance music and jazz in which a vocalist or individual sections are to be recorded with an echo quality.

- To improve on the special effect in symphonic or church music, especially when it is written for performance in large halls but must, of necessity, be recorded in absorptive rooms.

- For adding echo to stereophonic music. For thls purpose a stereo reverberation unit was constructed and ls avallable under the designation EMT 140 TS. Its use provides additional accentuation of the stereophonic effect by emphasizing the three-dimensional characteristics of the recording room.

Besides these there are numerous other applications in theaters, opera houses, and concert halls. ln. situations such as these, artificial reverberation can be effectively employed to amplify the desired illusion in stage presentations, or can serve to increase the existing reverberation for certain musical offerings such as organ music.

The pninciple

The EMT 140 TS Beverberation Unit utilizes the physical torsional properties of metals to achieve jts effict: lt is a fact that a steel sheet which has been excited by an impulse setting up within it bending oscillations, wili deliver reflections which increase in d;nsity as a function of time. Reflections in a three-dimensional rbom, on the other hand, become more dense as a function of the square of the time. The human ear is unable to recognize the difference between these two operating modes.

Through the use of appropriare steel and critically chosen dimensions, it is possible to produce a plate which possesses an adequate number of self-resonances. The length and frequency response of the decay time produce an artificial reverberation effect, which is not possible to differentiate from that obtained from a three-dimensional room. It was according to this principle that the EMT 140 TS Reverberation Unit was developed.

Its main component js a steel plate which is suspended in a tubular steel frame. Parallel to this plate, another made of highly porous material is suspended in such a way as to permit it to be swung towards or away from the steel plate with an extreme distance ratio of about 1:30. This motion is controlled by means of a hand wheel, or it may be remote-controlled from the studio console itself and the particular reverberation fime remotely indicated by an appropriate meter.


Thursday, July 10, 2014

AltiSpace submitted for review

AltiSpace full-featured convolution reverb for iPad and iPhone with built-in samples library submitted for review.

Key features:

- More than 200 samples of factory presets from different devices.
- High-quality, fast convolution algorithm with 64 bit operations.
- Wide range of reverberation types - plates, springs, halls, rooms.
- Preset hotkeys, possibility to save current sample and its params.
- Upload additional samples in different audio formats.



iPad Screenshot:



iPhone screenshots:



What is the convolution reverb?

Briefly, convolution reverb is based on a process that digitally 'captures' the reverb characteristics of another reverb effects unit or the reverb response of a real acoustic space. It is based on the mathematical convolution operation, and uses a pre-recorded audio sample of the impulse response of the device or space being modeled. The process of convolution multiplies each sample of the audio to be processed (reverberated) with the samples in the impulse response file.


Processing demo - Famous L480 Large Hall:



EMT140 Reverberation Unit (first plate reverb):



SPX90 Gate Reverb (Preset 16):



ADR68k Nice Chamber:



DN780 Medium Hall:



Famous guitar spring:




Will be started with special introductory price. Coming soon!