21
Dvr-2
Introduction
DVR-2 offers Reverb and System 6000 users a pristine
Generic Reverb with true vintage flavor. Generic Reverb is
complementary to Source Reverb, and both types are at
disposal in the 6000.
You can read more about Generic Reverb elsewhere in this
manual, but the term is used to describe a flattering sustain
effect, which can be added to many sources of a mix. It
produces little character but also does no harm, because
the effect is blurred or washed out. Instead, it adds a good
sense of spaciousness and more or less pronounced
modulation.
Recreation of a Classic
The development of DVR-2 has been a process extending
several years, with the goal of recreating the most shining
Generic Reverb of all times, the EMT250. A particularly
well sounding machine was refurbished, and in the making
of DVR-2 many design disciplines were involved...
Hardware technical: What was the precision of converters
and how where they implemented in the eighties with
emphasis, block scaling, linearity, filters etc? How much
processing and RAM was available, what was the sample
rate etc?
Software technical: Which kind of processing was done
in discrete circuitry, what type of truncation and noisefloor
artifacts would result, how could the low sample rate be
mimicked precisely, and how could all of this be transferred
to a modern DSP platform.
Perceptual
: Making sure the qualities of the original
processor was preserved. Sweet modulation, spectral
characteristics, spaciousness, distortion, saturation etc.
Hundreds of hours spent listening and measuring.
User: The four basic parameters of the EMT250 were
carefully laid out, offering a remarkably simple user
interface with complex, yet optimized interactions under the
hood. DVR-2 is a resemblance of that including range and
coarseness of parameters. Also the original I/O structure is
kept with Mono in to Stereo and Quad out.
Better than the Classic?
While DVR-2 in Normal mode is very close to the sound
of a perfectly aligned 250, having used much DSP power
to mimic artifacts of old hardware, the algorithm can also
be put in a High Resolution mode. Using this function,
the noisefloor is much lower, but use your own ears to
determine if this is actually a plus for a specific situation.
Please note: Many of the constraints and criteria listed
above produce non-linear audio behavior, making it
impossible to obtain more than a static and crude result if
trying to sample an original processor. A minute emulation
does more justice to the original from an audio point of
view, and can also still be adjusted.
The DVR-2 Source algorithm occupies:
@ Normal Sample Rate : 1/4 DSP Resource
@ Double Sample Rate : Currently not available
Algorithm Inputs/Outputs are distributed as follows:
E1 - E4
Mono
L
R
SL
SR
INPUT
OUTPUT
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Main screen
Reverb
Decay
Range: 0.2 - 4.5s
Adjusts the Master Decay time.
xLo
Range: 0.5 to 2.0
Decay multiplier for low frequencies. For a x1.0 setting, low
frequency decay will equal the Decay setting.
xHi
Range: 0.5 to Max.
Decay multiplier for hi frequencies. For a x1.0 setting, high
frequency decay will equal the Decay setting.
Pre Delay
Range: 0, 20, 40, 60ms
Pre delay is the amount of time from an input is received
until reverb starts building up at the output.
