In search of Stereo Reverbs and Delays to fill 2 Binaura EEPROMS.
- Thread starter BrainGutz
- Start date
Cybercow
Well-known member
@BrainGutz - I could easily spin-up some delay & verb patches in stereo. If you could be specific in your request for each of the 8 patches for both the delays & verbs, I'd be happy to do my best.
BrainGutz
New member
I did indeed, and I thank you for your efforts. I may end up lifting a few of these for sure, but I’m set on trying to do 8 unique (hopefully musical/useful) stereo reverbs and 8 unique stereo delays.
The idea is to make poor man’s Timeline and Bigsky. The spatialist would be perfect if it were stereo, and before I found the Binaura I planned to do a Aion Fx Amethyst (DM-2 clone) and the d3lay from pedalpcb in the same enclosure for the delay and a Threeverb/spatialist in another for the reverb. I prefer having 2 1590bb enclosures over 2 1590xx.
1. Can I audition the sounds you all share by importing it into spin-cad?
2. If these don’t exist can I ask for the communities help in designing stereo patches in spin-cad? Usability and variety is the goal.
Thanks
-BrainGutz
The idea is to make poor man’s Timeline and Bigsky. The spatialist would be perfect if it were stereo, and before I found the Binaura I planned to do a Aion Fx Amethyst (DM-2 clone) and the d3lay from pedalpcb in the same enclosure for the delay and a Threeverb/spatialist in another for the reverb. I prefer having 2 1590bb enclosures over 2 1590xx.
1. Can I audition the sounds you all share by importing it into spin-cad?
2. If these don’t exist can I ask for the communities help in designing stereo patches in spin-cad? Usability and variety is the goal.
Thanks
-BrainGutz
Cybercow
Well-known member
Not being a SpinASM coder, I rely on SpinCAD Designer to create patches for the FV-1. The patches linked to in my first response here are downloadable as SpinCAD (not HEX) files that can be loaded directly into SpinCAD Designer 99.1035 or even the newer SpinCAD Designer 99.1070
I typically don't work with the HEX files, but SpinCAD can easily Load and Save HEX file versions of its patches. So if you load a patch in from SpinCAD .spcd source, it can be saved out as a HEX file for those who use HEX files to load EEPROMs.
And yes, the patches can be auditioned by loading them into SpinCAD.
The worst the communities can do when asked for specific requests is point and laugh, so asking won't hurt and might even result in some interesting patches.
Still, please be specific when making patch requests so any developers have an actual target to aim for, rather than a generic request for 8 unique stereo delays and 8 unique stereo verbs. I suggest selecting 8 of the patch name types from both the Timeline & Bigsky and go from there. And remember, patch developers would need to be somewhat familiar with what those selections sound like. Personally, I've never heard the Timeline or Bigsky pedals.
BrainGutz
New member
I may have misunderstood what a hex file is, I simply meant a set of 8 ideally.
In any case I’m grateful for your help and thoughts.
Im not certain of the limitation of spincad so I’m not sure what is possible and what isnt, but my wishlist for the 2 builds would be:
8 Stereo Delays ("TimeLine" Set)
1. Anisotropic Oil-Can Delay: Dual modulated delay lines with asymmetrical LFO sweep, dark low-pass filtering, and mild non-linear saturation to simulate oil-anode flutter.
2. Stereo Multi-Head Tape Echo: Two staggered tape delay taps (3/4 timing ratio) featuring dual out-of-phase LFO modulation for tape warble and high/low-cut filtering.
3. Stereo Analog BBD Delay: Dual bucket-brigade style delays with steep low-pass filtering and gentle L/R pitch modulation.
4. Stereo Pitch-Shifted Feedback Delay: Dual delay lines running through a +1 octave pitch-shifter block inside the feedback loop.
5. Cross-Coupled Ping-Pong Delay: Interlocking dual delays where Output L feeds into Delay R feedback, bouncing repeats across channels.
6. Stereo Alternating Reverse Delay: Dual reverse delay buffer grains alternating between Left and Right outputs.
7. Envelope-Gated Swell Delay: Envelope follower driving an internal VCA gain ramp on the input, removing pick attack before entering the stereo delay matrix.
8. Sweep-Filter Modulated Delay: Dual delay matrix with an LFO-driven state-variable filter (resonant low-pass/band-pass) placed inside the feedback path.
8 Stereo Reverbs ("BigSky" Set)
1. High-Diffusion Ambient Cloud Reverb: Multi-tap delay network feeding an 8-stage comb/allpass matrix configured for high diffusion and seamless, blooming sustain.
2. Envelope Swell Ambient Reverb: Diffuse stereo reverb core paired with a slow envelope-controlled wet gain ramp for attack-free background pads.
3. Stereo Shimmer Pitch-Shift Reverb: Dual-channel plate/hall algorithm featuring a +12 semitone pitch-shifting block in the feedback loop.
4. Multi-LFO Detuned Chorus Reverb: Dense stereo reverb tank with multiple out-of-phase LFOs modulating internal delay taps to simulate ensemble movement.
5. Slow-Attack Auto-Volume Reverb: Envelope detector riding an input attenuation ramp, letting ambient tails swell in gradually after notes are played.
6. Diffuse Multi-Tap Tape Reverb: Multi-tap delay structure mapped with high-density allpass filters to blur individual tape repeats into a reverb space.
7. Reverse-Envelope Gated Reverb: Inverted decay matrix and reverse envelope gain control for gated, backward swell textures.
8. Dual-Tank Stereo Spring Reverb: High-pass filtered delay network paired with dense, low-delay allpass chains to simulate physical dual spring tank flutter and drip.
In any case I’m grateful for your help and thoughts.
Im not certain of the limitation of spincad so I’m not sure what is possible and what isnt, but my wishlist for the 2 builds would be:
8 Stereo Delays ("TimeLine" Set)
1. Anisotropic Oil-Can Delay: Dual modulated delay lines with asymmetrical LFO sweep, dark low-pass filtering, and mild non-linear saturation to simulate oil-anode flutter.
2. Stereo Multi-Head Tape Echo: Two staggered tape delay taps (3/4 timing ratio) featuring dual out-of-phase LFO modulation for tape warble and high/low-cut filtering.
3. Stereo Analog BBD Delay: Dual bucket-brigade style delays with steep low-pass filtering and gentle L/R pitch modulation.
4. Stereo Pitch-Shifted Feedback Delay: Dual delay lines running through a +1 octave pitch-shifter block inside the feedback loop.
5. Cross-Coupled Ping-Pong Delay: Interlocking dual delays where Output L feeds into Delay R feedback, bouncing repeats across channels.
6. Stereo Alternating Reverse Delay: Dual reverse delay buffer grains alternating between Left and Right outputs.
7. Envelope-Gated Swell Delay: Envelope follower driving an internal VCA gain ramp on the input, removing pick attack before entering the stereo delay matrix.
8. Sweep-Filter Modulated Delay: Dual delay matrix with an LFO-driven state-variable filter (resonant low-pass/band-pass) placed inside the feedback path.
8 Stereo Reverbs ("BigSky" Set)
1. High-Diffusion Ambient Cloud Reverb: Multi-tap delay network feeding an 8-stage comb/allpass matrix configured for high diffusion and seamless, blooming sustain.
2. Envelope Swell Ambient Reverb: Diffuse stereo reverb core paired with a slow envelope-controlled wet gain ramp for attack-free background pads.
3. Stereo Shimmer Pitch-Shift Reverb: Dual-channel plate/hall algorithm featuring a +12 semitone pitch-shifting block in the feedback loop.
4. Multi-LFO Detuned Chorus Reverb: Dense stereo reverb tank with multiple out-of-phase LFOs modulating internal delay taps to simulate ensemble movement.
5. Slow-Attack Auto-Volume Reverb: Envelope detector riding an input attenuation ramp, letting ambient tails swell in gradually after notes are played.
6. Diffuse Multi-Tap Tape Reverb: Multi-tap delay structure mapped with high-density allpass filters to blur individual tape repeats into a reverb space.
7. Reverse-Envelope Gated Reverb: Inverted decay matrix and reverse envelope gain control for gated, backward swell textures.
8. Dual-Tank Stereo Spring Reverb: High-pass filtered delay network paired with dense, low-delay allpass chains to simulate physical dual spring tank flutter and drip.
Cybercow
Well-known member
A HEX file is just one of the formats SpinCAD can work with. Some folks use HEX to move patches into and out of EEPROMs. While SpinASM (.spn) files cannot be read by SpinCAD, SpinCAD does a "Save As" in that format. I use SpinASM as it works well with my FV-1 Development Board. SpinCAD native files (.spcd) are the native SpinCAD working files. In the newest release of SpinCAD, the native save files are in JASON (.spcdj) format.
Those lists are a good starting point. I'll see what I pull together after the weekend.
Those lists are a good starting point. I'll see what I pull together after the weekend.
Digital Larry
Well-known member
Man that is mighty generous of you @Cybercow . At least the guy does know what he wants. As you probably know, I'm in the "teach a man to fish" camp. I went through some painful experiences early on that make me really reluctant to do this sort of thing. I couldn't charge enough to make it worthwhile.
Cybercow
Well-known member
It's all good. I'm paying back to the community for the generous assistance I've received from others here. I don't PCB layout and a few different folks have gone out their way to provide me some PCB work-ups that I desired. Just trying to help keep it goin' 'round.
And besides, with the latest SpinCAD Designer updates, spinning of some excellent reverb patches with the new Reverb Builder block is so much easier and varied. I think that's one of the best (among several) new features of SpinCAD 99.1070
Digital Larry
Well-known member
@BrainGutz one thing I found about the FV-1 is that it may not have enough resources for you to implement everything you have in mind in a single patch. While I can't be sure and I am not going to put it past Cybercow, this did enter my mind as I read through your list. So then the challenge becomes how to simplify your goal or combine things in such a way that you get the main bits and maybe don't worry about some of the finer details. A good example is the 3-control limit compared to programmable menu-based products like the Strymon - requires a ton of experimentation and planning on the FV-1 to get the fixed vs. moveable parts nailed down in an acceptable way. Another example is the pitch shifting - it's got some inescapable artifacts and I wound up mostly using it in a way where it could be somewhat hidden.
I am willing to participate here in a "how would you do that" open discussion - not that my perspective is the final word necessarily. Interested to see what comes of the exercise.
DL
I am willing to participate here in a "how would you do that" open discussion - not that my perspective is the final word necessarily. Interested to see what comes of the exercise.
DL
BrainGutz
New member
Thank you for your input and willingness to help me figure something out. I’m not too married to anything in particular, and experimenting I think can be half of the fun! I’m very new to this world, and im just coming up with ideas. I differ to you all and your expertise. Super grateful that this community is so supportive and interested in helping me figure out my silly concepts!
Cybercow
Well-known member
TBH, after spending g more time on the "specific requests", I had to chuckle to myself. While the FV-1 is an impressive DSP chip, it does have its limits - as Digital Larry points out. Some of the requests are sound quite lofty for the FV-1 and I'm doubtful all aspects of each patch request can/will be met. Compared to several other DSP chips in use today, the FV-1 is hilariously out-gunned.
To clarify my goals in trying provide a set of delay and verb patches here is I'll just be spit-balling each of the specific patch requests to start with. So after providing some acceptable basic approaches to each patch, each with their trimmed down metrics, others might be able to chime in with some sort of assessment and/or improvements on the bare-bones of each of the patches. So while all features of each request may not be achievable, hopefully we can narrow down the most important features to work with. While SpinCAD Designer is an extremely cool tool for the FV-1, and SpinASM is far more fluid than SpinCAD, the FV-1's maximum external control count of 3 and a code limit of 128 lines presents extreme limitations on how much can be done with one patch.
In any case, coming up with a coupla sets of community contributed & built stereo FV-1 patches is a pretty cool project for this 20 year-old DSP chip.