Brian, in jOrgan, the reverb uses four instances of the "Reverb" element.
The easiest way to set up the reverb
in a disposition is, in Construct Mode, to create one instance of "Reverb,"
highlight that element in the elements section and press Ctrl+D on the
keyboard which will duplicate the element. Do this three more times for a
total of four Reverb elements. In the Properties Section for those
instances of "Reverb," in the 1st, leave the name "Reverb" and in the
Parameter section (dropdown window), select ROOM. For the 2nd, change the
name to WIDTH and in the Parameter section (dropdown window), select
WIDTH, in the 3rd, change the name to DAMPING and in the Parameter section
(dropdown window), select DAMPING. For the 4th, change the name to LEVEL
and in the Parameter section (dropdown window), select LEVEL. Drag and
Drop all four instances on the Console and, highlight each instance of
Reverb on the console and from the "Skin" tab, select a slider element,
such as is used for a volume level indicator, for each of the Reverb
elements. Reference the Soundfont of the disposition to each of the Reverb
elements. You will be able to regulate the "reverb" parameters with the
sliders for each. You can create and use pistons, such as are used for
combinations of stops, and reference all four elements of reverb to the
piston/combination with specific level settings for each element ROOM,
WIDTH, DAMPING and LEVEL. This speeds up reverb changes. To avoid clutter
on a "CONSOLE" window, create another
CONSOLE window and name it "Controls," or some suitable name, and give it a
"Skin" and the use the right click
"Send To" feature by highlighting the Reverb elements on and "Send" them to
the "Controls" console window. This
is all done in "Construct Mode."
I have studied some dispositions, but I cannot get (reverb) to work on my fluid-synth disposition.
Most jOrgan dispositions already provide for the use of the Fluidsynth reverb, and the recent ones even make the four parameters user-adjustable graphically instead of requiring them to be changed as values in the Fluidsynth Properties View. The simplest way to see how this is done is to examine existing dispositions. Don’t forget to examine the relevant disposition references.
However, if you are making your own soundfonts, the Fluidsynth reverb will not work unless the soundfont itself contains entries for the reverb parameter. My practice when using Viena as my soundfont editor is to enter “100” as the Global Reverb parameter for each Instrument (EDIT: ThIs should have read "Preset"). In Viena it is the very last in the long list of parameters. Some designers like to vary that figure in order to produce a lower or higher level for particular stops. Again, examining an existing soundfont is recommended.
It's good that John Beach's post has led to success for you. My post may be helpful to some others, except that it contains an error! It's the Global Reverb parameter for the soundfont PRESETS which I make to be "100", and not that for the soundfont Instruments. I shall edit the Nabble post, but can do nothing about those people who consult only the mailing list.
Brian, Yes, sometimes, the percentage of reverb, set in the Instrument Pool
of the Soundfont Tree, needs to be
set higher (100%, for example) in order to attain the equivalent level of
the effect which other instruments of
the soundfont have. I think the reason for varying percentages of reverb in
soundfonts was to help to produce
a more accurate (subjective, though it is) emulation of the sound of
different types of instruments, the uniqueness of the identity of the sound
of which is adversely affected relative to the amount of reverb used. The
fact is that reverb, more than anything else, affects the quality of sound
and our perception of that quality. It can make the sterility of
electronically-produced sounds quite acceptable and utterly deceiving. In
making soundfonts, there is no ability to "voice" for the environmental
acoustic of a building ambience. So instruments are "voiced" relative to
what they sound like as instruments, not relative to a particular acoustical
environment in which the pipes of a real pipe organ would be voiced for that
particular environment. The soundfont reality is that "an oboe is an oboe
is an oboe." It is not THE Oboe of the Cathedral organ of such-and-such....
When I make soundfonts, I use an home-made, jOrgan Additive Synthesizer,
with the stop footages and amplitude settings capability of the Hammond
Organ and for which the soundfont has sine wave samples with the attack
edited to produce both wind and frequency-shift chiff qualities. Using
Audacity in conjunction with the jOrgan Additive Synthesizer, I can record
any length of any note I want with no reverb at all, completely "dry,"
import the wave file into Polyphone and create an instrument, editing all
the necessary parameters to produce a good-sounding organ voice. In
Polyphone, I , generally, set the reverb percentage to 100% since this
allows jOrgan Fluidsynth Sound to apply reverb at any level from none to
full. It is the percentage of reverb set in the Reverb Parameter of
Polyphone which determines the amount of reverb to which the Instrument will
be "adapted" in jOrgan. If it were set to 0%, it would not be affected at
all by jOrgan's reverb settings.
Hope this helps.
So if a single voice in a soundfont does not reverberate as all the other
voices do, it means I need to edit that parameter in the soundfont, before
it will also reverberate?