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* Store the listener directly in the contextChris Robinson2018-11-171-2/+2
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* Move the vector and matrix declarations to a separate headerChris Robinson2018-11-175-4/+10
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* Move the ALCcontext definition to its own headerChris Robinson2018-11-1712-6/+17
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* Convert the remaining effects to C++Chris Robinson2018-11-173-33/+48
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* Convert the dedicated, distortion, echo, and equalizer to C++Chris Robinson2018-11-174-37/+51
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* Add a couple missing includesChris Robinson2018-11-172-0/+2
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* Use standard complex types instead of customChris Robinson2018-11-172-77/+65
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* Make the Hann windows constChris Robinson2018-11-172-111/+110
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* Convert fshifter.c to C++Chris Robinson2018-11-171-9/+13
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* Convert modulator.c to C++Chris Robinson2018-11-171-9/+12
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* Convert null.c to C++Chris Robinson2018-11-171-7/+14
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* Convert pshifter.c to C++Chris Robinson2018-11-171-9/+14
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* Convert the reverb effect to C++Chris Robinson2018-11-161-18/+22
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* Make the polymorphic allocators allocate cleared memoryChris Robinson2018-11-021-1/+1
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* Fix some uses of RESTRICTChris Robinson2018-10-291-1/+1
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* Replace restrict with RESTRICTChris Robinson2018-10-2912-49/+49
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* Don't scale the reverb fade counter so muchChris Robinson2018-09-301-5/+6
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* Only compare the reverb params that induce a need for fadingChris Robinson2018-09-231-23/+41
| | | | | | | The offsets and coefficients are controlled by a relatively small set of input parameters, just with different base constants or different calculations. This lead to numerous redundant checks since if one value didn't change, others that use the same inputs wouldn't have either.
* Clear reverb gain coefficients when doing a device updateChris Robinson2018-09-231-0/+49
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* Rename ALreverbState to ReverbStateChris Robinson2018-09-231-23/+23
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* Remove another duplicate functionChris Robinson2018-09-1911-28/+26
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* Add macros for commonly used square rootsChris Robinson2018-09-191-7/+6
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* The last reverb loop update doesn't need an aligned count.Chris Robinson2018-09-111-4/+7
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* Ensure the max reverb update size is a multiple of 4Chris Robinson2018-09-111-2/+4
| | | | | | It's not an issue for the final mix, but if one loop has an unaligned count, the next loop will have unaligned input and output buffer targets which can crash the SSE mixers.
* Separate the delay line feeding from readingChris Robinson2018-09-101-2/+4
| | | | | Since it feeds a different line than it reads, the feeding could overwrite what's subsequently read.
* Avoid a couple line count assumptionsChris Robinson2018-09-101-2/+2
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* Combine identical loops into a separate functionChris Robinson2018-09-101-46/+21
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* Handle the early reflection delay separate from late refeedChris Robinson2018-09-101-57/+40
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* Include the mid-band decay with the density gainChris Robinson2018-08-311-7/+7
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* Calcualte and use the maximum reverb update sizeChris Robinson2018-08-311-6/+14
| | | | | Instead of requiring it to be at least as big as MAX_UPDATE_SAMPLES, which may not be true in some situations.
* Apply the decay gain when reading from the late lineChris Robinson2018-08-311-10/+17
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* Don't modify the late reverb density with the echo parametersChris Robinson2018-08-301-13/+7
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* Avoid making extraneous callsChris Robinson2018-08-261-3/+3
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* Pack two arrays into oneChris Robinson2018-08-261-6/+10
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* Further limit the upper frequency range for autowahChris Robinson2018-08-261-1/+1
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* Use second-order biquad filters for the reverb's T60 decayChris Robinson2018-08-121-309/+18
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* Store the reverb state offset locally while processingChris Robinson2018-08-111-16/+14
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* Correctly apply reverb coefficient fading over the entire fade lengthChris Robinson2018-08-091-23/+25
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* Crossfade the early reflections delay coefficientsChris Robinson2018-08-081-30/+50
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* Apply late reverb density gain on late reverb inputChris Robinson2018-08-081-15/+30
| | | | | | | | | | | This also uses gain stepping for changes in density or decay, so that the late reverb tap fades smoothly between delay offsets and density gain levels simultaneously. Now with these changes, it's preferrable to apply density gain adjustments on late reverb input instead of output so that samples currently in the feedback loop won't see a sudden increase or decrease in amplitude. A similar change can probably be made for the early reflection delays to further smooth out delay changes.
* Specify both scale values to FadedDelayLineOutChris Robinson2018-08-081-9/+17
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* Use the correct input channel for the compressor effectChris Robinson2018-08-081-1/+1
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* Properly set early reflection all-pass coefficientChris Robinson2018-08-061-3/+7
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* Make the all-pass coefficient part of the all-pass structureChris Robinson2018-08-061-22/+17
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* Prevent the autowah filter frequency from reaching nyquistChris Robinson2018-08-061-1/+1
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* Apply the vector all-pass separate on uninterleaved samplesChris Robinson2018-08-051-159/+310
| | | | | | | | | | With the vector all-pass applied in a self-contained function, the individual steps of the early and late reverb stages can be better optimized with tighter loops. That allows for more data to be held local, resulting in less thrashing from reloading the same values multiple times. There is room for further improvement, depending on the length of the early delay lines and all-pass delay lines allowing for bulk reads.
* Apply the reverb's T60 filter in groups of samplesChris Robinson2018-08-051-54/+78
| | | | | | | The late reverb line lengths are long enough to ensure a single process loop won't rely on reading samples it wrote in the same call. So we can safely read in all samples we need from the feedback buffer up front, then more efficiently filter them.
* Mix reverb samples right after generating themChris Robinson2018-08-041-31/+36
| | | | | | | Instead of generating both the early and late reverb samples first, then mixing them both to output, this now generates and mixes the early reflections then generates and mixes the late reverb. There's no reason to hold both at the same time so this reduces the amount of temporary storage needed.
* Scale the reverb decay weights to cover up to 20khzChris Robinson2018-08-031-11/+16
| | | | | | | Otherwise, using the device's maximum frequency will cause the weighting factors to shift for different sample rates, irrespective of the content being processed. 20khz is the maximum allowed reference frequency, and also acts as the upper limit of human hearing.
* Apply late reverb density gain adjustment on outputChris Robinson2018-08-011-22/+17
| | | | | | | | Because density/late line length changes start affecting late reverb output right away, with samples that are still going through feedback decay and not just new input samples, it makes more sense to correct for it on output instead of input. This has the additional benefit of working with the output mixer's gain fading, avoiding discontinuities from significant density gain changes.
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