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* Use sqrtf for single-precision square rootsChris Robinson2017-06-291-1/+1
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* Remove the fastf2u conversion functionChris Robinson2017-06-273-9/+9
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* Calculate chorus and flanger mod delays separately from feedbackChris Robinson2017-06-072-135/+118
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* Make the late lines' delay the delay average for modulationChris Robinson2017-06-071-59/+36
| | | | | | | | | Similar to the recent chorus and flanger changes, the modulation delay now swings between -n to +n, where n is less than the delay length. This brings up a slight issue with the linear interpolation, as modff doesn't produce the correct fraction value for interpolation (it's inverted, with 0 being closer to the next sample and 1 being closer to the base). So it's using nearest interpolation for now.
* Fix handling chorus and flanger LFO displacement offsetChris Robinson2017-05-262-2/+8
| | | | | The phase offset is modulo-wrapped rather than masked, so it's best to avoid negative offsets.
* Properly handle the chorus and flanger LFOsChris Robinson2017-05-262-24/+30
| | | | | The effects' specified delay is the average delay time, meaning the delay offset should move between -n and +n relative to the delay, where n <= delay.
* Add a method to copy a filter's coefficientsChris Robinson2017-05-212-39/+6
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* Avoid unnecessary doublesChris Robinson2017-05-211-2/+2
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* Use a macro to specify the decay target gainChris Robinson2017-05-211-2/+2
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* Reduce the main reverb filter gain limit to match the restChris Robinson2017-05-161-4/+4
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* Make reverb delay line structs use interleaved floatsChris Robinson2017-05-151-68/+73
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* Make the reverb's early and late feedback lines interleavedChris Robinson2017-05-141-42/+47
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* Update a couple comments about the reverb modulationChris Robinson2017-05-131-12/+13
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* Replace 4 separate all-passes with one vector all-passChris Robinson2017-05-131-53/+47
| | | | | | Each 4 related all-passes now share a structure with one delay line, which uses an interleaved sample history. Also fixes some potential rounding problems for delay lines with interleaved samples.
* Apply reverb modulation to the late feedback linesChris Robinson2017-05-121-104/+71
| | | | | | | | This seems to be more in-line with the intended behavior, to allow build-up and overlap within the reverb decay, rather than a pitch-shift on input. Unfortunately there's no readily available implementation of this reverb model that includes modulation to compare with, so a low depth coefficient is used to keep it very subtle.
* Remove the 0.5 gain on the reverb outputChris Robinson2017-05-111-6/+2
| | | | | Turns out to be unnecessary, as it reduced the volume below what other reverb implementations provide with the same presets.
* Restore the previous reverb B2A and A2B matricesChris Robinson2017-05-111-12/+12
| | | | Also, untranspose the A2B matrix.
* Update reverb conversion matrices and output gainChris Robinson2017-05-081-10/+12
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* Add a slight bit of attenuation to the reverb outputChris Robinson2017-05-021-2/+4
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* Change some ALuint parameters to ALsizeiChris Robinson2017-05-0210-75/+74
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* Don't do more reverb samples than there are to fade.Chris Robinson2017-04-281-2/+6
| | | | This avoids having to clamp the fade value when incrementing it.
* Combine mostly duplicate functionsChris Robinson2017-04-271-121/+50
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* Properly update the delay line offsets when fading is doneChris Robinson2017-04-271-28/+44
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* Reverb code updateChris Robinson2017-04-261-824/+1213
| | | | | | | | | | | | | | This update modifies the reverb in numerous ways. The 3-series, 4-parallel all-pass is replaced with a Gerzon vector all-pass. The vector all-pass is also applied to the early reflections, to help with the initial diffusion in the late reverb. The late reverb filter and feedback attenuation has been replaced with a dual first-order equalization filter, which controls the low and high frequencies with individual low-pass/high-shelf and high-pass/low-shelf filters with gain control. Additionally, delay lines now have the ability to blend the output between two offsets, to help smooth out the transition for when the delay changes (without such, it could result in undesirable clicks and pops).
* Use ALsizei for more index lookupsChris Robinson2017-03-241-15/+15
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* Properly calculate the echo dampingChris Robinson2017-03-241-1/+1
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* Increase the filter slope to -12dB/octaveChris Robinson2017-03-161-1/+1
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* Remove CalcXYZCoeffs and inline CalcAngleCoeffsChris Robinson2017-02-234-10/+12
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* Limit filter gains to -24dBChris Robinson2017-02-223-7/+7
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* Fix late reverb low-pass filteringChris Robinson2017-01-291-1/+1
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* Use an all-pass series on each late reverb lineChris Robinson2017-01-281-261/+396
| | | | | | | | | This attempts to improve the smoothness of the late reverb decay by passing each line through multiple all-pass filters. Some work is still needed to work better in high-density and not-so-high-diffusion environments. This also removes the decay from the early reflections, since it's no longer continuous feedback.
* Avoid writing to the same buffer that's read fromChris Robinson2016-12-231-36/+36
| | | | Also clean up comment formatting a bit.
* Reorder filter coefficientsChris Robinson2016-12-212-10/+10
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* Round the early and late delay tap sample offsetsChris Robinson2016-10-261-4/+4
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* Restore a comment that was accidentally deletedChris Robinson2016-10-101-0/+9
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* Better sort the main delay line tapsChris Robinson2016-10-061-60/+39
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* Decorrelate the early reflection inputsChris Robinson2016-10-061-10/+19
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* Pass current and target gains directly for mixingChris Robinson2016-10-051-45/+12
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* Update a comment about using row mixersChris Robinson2016-10-051-3/+1
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* Better pack the late reverb low- and all-pass variablesChris Robinson2016-10-051-21/+25
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* Use the row mixer functions for the B-to-A-Format conversionChris Robinson2016-10-041-16/+10
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* Enhance reverb using B-Format processingChris Robinson2016-10-031-405/+386
| | | | | | | | | | | | Technically it uses A-Format processing from the B-Format input and output. But this attempts to provide better spatial definition to the reverberation so that it can be used in a more generic fashion, allowing it to be decoded as any other B-Format signal to whatever output is needed, and also allowing for a bit of height information when the output is capable of such. There may still be some kinks to work out, such as properly decorrelating the early reflection taps and tweaking the late reverb density. But it seems to be a good enough start.
* Fix EAX reverb effect output for HRTF and UHJChris Robinson2016-09-131-2/+2
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* Call ALfilterState_processC directlyChris Robinson2016-09-122-5/+0
| | | | | | It's the only implementation currently, so there's no point to having it stored as a function pointer in the filter struct. Even if there were SIMD versions, it'd be a global selection, not per-instance.
* Write to the correct outputs for extra reverb channelsChris Robinson2016-09-111-2/+2
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* Combine the reverb decorrelator delay line with the main delay lineChris Robinson2016-09-111-46/+26
| | | | | | | Since it was merely acting as an extension of it anyway, with the second delay line tap (for late reverb) copying attenuated samples to the decorrelator line that was being tapped off of. Just extend the delay line and offset the decorrelator taps to be relative to the late reverb tap.
* Make the SelectMixer function sharableChris Robinson2016-09-061-15/+1
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* Use the optimized mixing functions for reverb outputChris Robinson2016-09-061-83/+117
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* Use deinterlaced buffers for the intermediate reverb storageChris Robinson2016-09-061-119/+137
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* Do reverb modulation before band-pass filteringChris Robinson2016-09-061-7/+6
| | | | | | | Ideally the band-pass should probably happen closer to output, like gain is. However, doing that would require 16 filters (4 early + 4 late channels, each with a low-pass and high-pass filter), compared to the two needed to do it on input.
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