Hi Florian

> I would prefer to use it after(!) the VCF but before the VCA. I the
> prefer a quite short release time. This makes the patch sounding
> like a natural sample: a sample always contains elements of the
> original room, but the room-sound does not fade away in a natueral
> release but ends abrupt with the end of the sample.

It seems to me that the two approaches have different goals: one is to
create room ambiance, and the other uses the spring reverb in a more
unconventional way to mangle the raw audio material, such as you'd do
with the waveshaper or frequency shifter.

I'd like to explore both, but initially I'm focused on treating the
wet reverb tail as a separate audio path, layered on to the original
patch with an A138 at the end of the chain.

I've been using a short release time also, but with a seperate VCA and
volume envelope for the reverb tail. Since the release time is what's
important, I realized that I can use the A170 slew limiter instead,
and keep my third ADSR available for other things.

> I do this also with polyphonic played sounds: feed the poly synth
> sound with short release time to a reverb and then feed the reverb
> through a noise gate which is triggered direct from the polyphonic
> synth.

I've been experimenting with patching the A119 gate output to an A130
to use as a noise gate. It seems to be working pretty well, but I
can't decide whether its better to trigger the gate with the dry
signal or the wet reverb tail. Which is best seems to depend on the
patch.

In many ways, this is just like layering an attack sound onto a patch.
I've been considering splicing on a reverb tail from a completely
different sound from the original patch. I think this might produce
something really spacey, but I haven't had a chance to try it yet.

I've also been using EQ on the reverb, but I'd like to try a VCF
instead. Maybe opening or sweeping the filter during the release stage
would produce an interesting effect.

Any other thoughts

Joe