DIY Hardware Convolution Reverb? Anyone?

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When you say no multicore, do you mean no snakes and just individual mic cables? Please explain as I try and picture it
This was all single mic cables - no snakes. It was cheaper and gave a better result than using multicore. This build was in 1977 and there was a lot of top quality mic cable just appearing in the pro-audio marketplace. The wrap was using small cable ties pairing cables - the inner cable of a pair connected to the next cable and so on until there was a flat band of cables, with the cable ties running in a tight diagonal line, these lines 600mm apart - each flat of 12 cables was then connected at the outside edges to another flat set of 12 giving a 24 cable run. There were two of these runs running around all the wall plates, one in each different direction around the walls, each plate’s cables were fed through the mounting block and soldered to the XLR’s and Jacks. Headphone sends were via a separate 8 cable block in a separate segment of the duct - the duct had a large and small channel and the cable groups were held in place using sticky cable tie mounts in the back of the duct and loose large cable ties. All wall penetration points had a string “mouse” left in place for any additional cables that might need to be drawn through. Power was all fed in steel conduit or duct separated by at least 1Metre from the audio ducts. All the run lengths were pre-measured, cut to length and cable tied in the car park - the shorter runs at the front of the cable group and the longest at the back. Took me less than a day to make up the runs.
 
@pucho812

When I began working in "real deal" studio installs late 1960's, we hardly ever used any multicore. In the 1970's, it was a bunch of Belden 8451 and a jillion tyraps.

Bri
Always hard dragging tywrapped cables through ducting - that’s why when I designed the cabling for a studio I’d insist on open faced duct with either clip on top or lift and drop flat capping (this was designed for wall duct) - works well for discrete or multicore. I just completed an install with mic and line feeds inwards and line and headphone sends outwards and just used separate multicores for mic and line feeds and single mic cables for the headphone sends - 8 separate console headphone sends, Aux 1 & 2 vocal booth plus at all other locations - 3 & 4 keys, 5 & 6 drums/percussion, 7 & 8 Hammond and bass. First fire-up and no cross-coupling even with the cans running full stick.
 
I've been a fanboy of multicore for decades. In the early days, we didn't have products like Mogami. I recall fighting with Belden multicore eons ago. Each pair was wrapped in foil shielding without any jacket around each shielded pair. To terminate the snake, we had to do an elaborate process with lots of heat shrink.

Bri
 
I've been a fanboy of multicore for decades. In the early days, we didn't have products like Mogami. I recall fighting with Belden multicore eons ago. Each pair was wrapped in foil shielding without any jacket around each shielded pair. To terminate the snake, we had to do an elaborate process with lots of heat shrink.

Bri
Yeah I remember getting an emergency call into a studio where it was a school of audio engineering just built and the owner did the wire up with Canare or Belden multicore on the cheap using his students as labour (none of whom could even solder). The console was an MCI JH500 with the cables terminated into punchblocks - they didn’t have the punchblock tool (I have my own) and had just pushed the wires in with a screwdriver and left the polyfoil wrap hanging loose in the back instead of cutting it off! The foil was arcing the phantom, shorting lines on the punchblocks everywhere plus there were misconnections from not properly inserted wires. All the heat-shrink work had been done with gas cigarette lighters and they’d burnt half the insulation off the wires - they had also left the foil sticking out the end of the heatshrink - I can’t for the life of me see the reasoning behind that one!
I had to rewire the whole of the input punchblocks and multi-track feeds while a recording (paid one too) was going on. Luckily when I was doing this they were only recording vocals as a guide to a striped demo at that stage - the main recording was yet to be done - so I already had snipped the foil for the runs from the 24 track multi-track by the time they started, made sure all channels were working for playback and gave them 1 channel for vocals while I did the rest. I hated that multicore and have never used that type after that little episode. It was a big name band as well - I don’t know what they must have thought.
 
I am having some bad "flashback" memories from decades ago...lol! Terminating a Beldfoil multicore onto a TT patchbay.

Bri
Happy days 😂🔥😳
I had to remake some bantam cable looms last week in a studio as the weight of the cable had ripped some of the connections off the plugs in a moulded bantam jack multicore. I swapped this for single cables using the removable cover bantam jacks.
They thought there were failing channels in the desk as mics were popping in and out - we just never suspected the bantam jacks. After checking the cabling at the back of the patchbays I found it was the leads. I had to do a temporary swap-out during the session with a guitarist, bass player and drummer all getting problems.
Luckily this new stuff is braid/foil shielded with plastic jacketing.
I don’t know what they were thinking when they made those loose foil cables - you could hear rustling in the audio if you moved the cable by bending it!
 
I did my own DIY version of that, very easy to do and sounds great.

It's a Macbook Pro 13 from 2011 running Live Professor with Altiverb IR Reverb, for audio In/Out I got an RME Fireface 400.
I can have 4 different Altiverb Reverbs, with 4 stereo outs from the RME FF400.

It's the best Reverb Processor I ever used.

Cost me in total 350€ (200€ for the used Macbook and 150€ for the used RME FF400)
This is a legendary idea. Have a few old MacBooks laying around that would be good for this... shove it in the corner / in a closet and then Remote Desktop in to change parameters...

Thanks!

Also for convolutions, I've been using Liquidsonics Reverberate 3 for a few years now and love it. Had a copy of Altiverb for a while but haven't used it in about seven years (was RTAS and broke when PT switched to all AAX after PT10)
 
I run a MacBook 13 Mid 2012
OSX Mavericks 10.9.5
ProTools 10
Altiverb 7 RTAS

RME Fireface 400 connected via FireWire
I have an old iLok with a copy of either PT 10 or 11 (or both), so I'd probably do a similar setup. I wonder if you can even remote desktop into a version of OS X that old nowadays.
 
I have an old iLok with a copy of either PT 10 or 11 (or both), so I'd probably do a similar setup. I wonder if you can even remote desktop into a version of OS X that old nowadays.
As long as you allow sharing you should be able to.
Cubase has (or used to have) a thing called System Link which allowed synchronised link of two or more running systems to hand off the CPU load of things like convolution reverbs or VST instruments which does a similar thing to what you’re wanting to do here. I set one up for a client album project using an unused ADAT port set on the prime host MacPro audio interface with an ADAT interface on a MacBook Pro which ran the reverbs and Vienna Symphonic - worked like a charm. This ran two separate sessions of the same program simultaneously, with full editing functionality on the second system including audio recording, track editing and record/playback sync. This auto time compensated for the round robin trip by pinging the circuit at the setup phase.
I don’t think PT has a problem doing the same, as you can use an Ethernet cable to link the machines and the network settings in Audio MIDI Setup to provide the sync, you can program negative offset into the slave to compensate for MIDI lag (using click tracks on both to work out number of samples in the round trip lag - just record the slave click and see how far off the beat the recorded slave click on the host is) and then as long as you have a bit of a count-in the two machines will sync smoothly. This allows handoff of instruments, MIDI tracks on host and instruments on slave and to bring the audio back in to the PT session on the host. The Ethernet provides the MIDI channels as well.
Remote Desktop is handy to work this type of setup. Didn’t find the need to use Remote Desktop for control with that particular Cubase session as the laptop was right next to the host keyboard.
 
I learned on an MCI JH-500 and a JH-24 Tape machine with Westlake monitors and NS-10’s using DC-300A amps and the EMT 140 and some other gear which I don’t remember too well. Early days when Nick Cave was kicking off in this studio and I was tape-op and assistant engineer and studio tech.
 
I didn't know this company. I've visited their site.
It's quite surprizing their panel of examples does not feature drums, because I think that's where the QRS makes a difference. Nothing artificial like what you have with a Lexicon or Bricasti.

indeed, they have made a good job.
They just released a QRS yesterday...very natural sounding a lot more rooms/options...

On sale for a few days I suppose...

https://savantaudiolabs.com/product/quantum-room-simulator/

https://www.youtube.com/watch?v=nqlR508ZMKU
 
I have always been a big user and fan of the QRS reverb. And I've always wanted to own one. I just purchased the plug in and will report back once I've had a chance to listen and live with it.
I’d be very interested to see how it stacks up against the original. I’ve used a lot of these in the past and always tended to favour them over the Lexicon 224 & 480 when available in a session. I wonder if they’ve built in the same HF rolloff the hardware has?
 

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