The things that make for a 'lush' sound are not always the textbook methods. Sean drops some very nice clues in his old blog posts (I wish he still did them), but, again, you will have to figure out where those clues fit in the overall puzzle. You could possibly piece together the rest by studying a PCM 70 (or better 224), but that is labor intensive. The info available on the web is very incomplete and in some cases quite misleading.ДЇor example, the Dattoro 'Lexicon plate' is only a small fraction of the algorithm and leaves out the most important parts. No step by step reverb algorithm tutorial exists online and it is unlikely one will appear since the trade secrets surrounding the good algorithms are very valuable. I've done this in Pd and it will take not only a lot of research, but some extensive experimentation to figure out. There is a lot of detail in the decaying background. These recordings do not hold up well over tiny laptop speakers. I really like The Pearl by Harold Budd, recorded and processed by Eno and Lanois:ДЄpollo is another stand out for most people: He talks about the effects about 1/3 of the way into this interview: They had many more effects going that were not really shimmer as well. I remember interviews with Daniel Lanois where he said they were hooking everything up in feedback paths to see what would happen. There would have been delays an EQ added as they got more elaborate. The basis of the sound is to run through reverb, then into a pitch shifter and then feedback that to the reverb. The original was done with 80's hardware effects and mixer routing.

Valhalla shimmer vst