1978 was the hot year for reverb… in 2020. Both the CXM 1978 and the Vongon Ultrasheer looked to the past and Lexicon’s famous plate algorithm.
1978 Reverb attempts to adapt this particular algorithm to ZOIAnese. (I consider this patch a work-in-progress because I expect to continue to fine-tune it.)
I used two approaches: one (A) is “fuller” (to my ears) but (B) is more accurate to the design. Neither is a wholly successful emulation, as adaptations and compromises had to be made.
In both patches, the LEFT STOMPSWITCH will max out the reverb decay.
The controls for each are similar, but there are a few key differences. Let’s start with A.
DAMPING controls the amount of high-frequency content that enters the tank. (You may hear some clicking as you adjust this — those darned multi-filters.)
MIX controls the dry-wet mix of the patch.
DECAY controls the amount of time the signal feeds back through the “tank.” Up to near infinite reverb (this may produce oscillation in some cases).
DIFFUSION controls the gain and size of the diffusers. Higher diffusion results in a “smoother” sound. Lower diffusion in a more echo-y sound.
MOD RATE and DEPTH control the modulation of the tank. You can get a little kooky with these at maximum settings.
Switching over to B, the mix control is replaced with separate DRY and WET levels.
Damping and decay remain the same, and their functions are identical. But B includes a PRE-DELAY, with times between 2 and ~500 ms. With really long pre-delay, you can get some interesting effects.
Instead of separate mod rate and depth, the mod control is a single “MOD AMOUNT.” You may notice a general downward shift to pitch with long decays.
There are things I would like to add to both, if I find more CPU to work with. And I expect to continue tweaking and refining. Let me know which one you prefer!
The patch is derived from this paper (adjusted and translated to ZOIA), linked on the Vongon website: https://ccrma.stanford.edu/~dattorro/EffectDesignPart1.pdf
Both patches are stereo throughout.