![]() ![]() The resulting reverberator structure is a bit hard to tune, as both the reverb attack and decay are controlled by the feedforward/feedback allpass coefficient, and is less “general purpose” than the structure discussed in Schoeder’s next paper. These allpass delays could be cascaded, with each one increasing the echo density without adding coloration. ![]() Schroeder showed how to use both feedforward and feedback around a digital delay, to create a “colorless” delay block, in that it passed all frequencies at unity gain. This paper was the first one (as far as I know) to introduce the idea of digital reverberation, as well as the allpass delay line. Journal of the Audio Engineering Society, 1961. “Colorless” Artificial Reverberation by Manfred Schroeder There have been a lot of great papers published on the topic of digital reverb, but there are 10 papers that, in my opinion, can be considered the foundations of all algorithmic digital reverbs that followed. The first published works in this field date to 1961, but it wasn’t until the late 1970s that the first commercial digital reverberators became available and would be heard on popular recordings. Digital reverberation algorithms are a relatively young technology. ![]()
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