Avid ? Space Impulse Response Library (WAV)
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Introducing the Townhouse RMX by INHALT: the most comprehensive impulse response library of the legendary AMS RMX 16 reverb processor from a very legendary studio. Townhouse RMX features 194 expertly sampled impulse responses of every major algorithm of the RMX 16. Unlike other impulse responses of the AMS, Townhouse RMX features various onboard EQ settings for each decay time. The RMX 16 drastically changes its decay and reverb characteristic depending on the EQ settings of the onboard low and high EQ, so we sampled each decay time at numerous EQ settings for a deep and detailed representation of the legendary reverb.
Compared to the actual hardware, these impulse responses, to our and the ears of other major producers, exude the realness, depth, and three dimensionality better than DSP emulations of the RMX. During critical listening tests conducted in several major recording studios (with real AMS RMX 16s in the fx rack), we were throughly impressed with the accuracy of the impulses in completely capturing the unique sound of the RMX 16.
A note on normalization: we shot out the RMX 16 at optimum studio levels to capture the impulses at the most optimal and correct level for the AMS. We wanted to preserve the authenticity of the RMX 16 so we did not try to alter the responses beyond the usual editing that needs to happen with impulses. If you feel that some of the levels are too loud or too low for your particular convolution processor, please feel free to normalize or re-gain the impulses to levels that work for your individual processor. All testing was carried out on Waves IR1 and we were very pleased with the results with no further processing.
Each of the above mentioned plugins need slightly different techniques for creating a custom library of impulse responses. This article is a description of the general concepts behind recording good impulse responses and should be easily adaptable to any convolution/de-convolution tool.
The impulse responses or IRs are captured by recording how a space responds to a full range of frequencies (typically 20Hz to 20,000Hz). This is achieved by playing back a burst (impulse) of a full range of frequencies within the space and recording it. For more accurate results it is common to use a sine-sweep across the audible frequency range.
Recording & Mangling IRsIR Reverb ComparisonsImpulse Response Utility GuideCapturing manipulation and reproduction of sampled acoustic impulse responsesImplementation of Impulse Response Measurement TechniquesSimultaneous measurement of impulse response and distortion with a swept-sine techniqueRecording Impulse Responses for 3D Sound Systems
Create true surround and 3D sound for Dolby Atmos or Auro-3D® 11.1 with the multi-channel impulse responses from Avosound - compatible to Altiverb and TL Space. Using the IR1 Impulse Response Set, you have over 54 sets with impulse responses, including 42 for Auro-3D® 11.1 or Dolby Atmos sound. Read more about the IR1 Impulse Response Set
To put it simply, convolution reverb refers to the simulation of a reverb, echo or the sonic quality of a space using impulse responses. As described earlier, a short sound is played, with the response then being measured and recorded, then recreated using algorithms. Popular convolution reverb plugins include Logic Pro X Space Designer, Waves IR1 and Space by Avid.
As mentioned earlier, convolution reverb is the simulation of ambience using an impulse response. Algorithmic reverb is totally artificial, recreating the effect of ambience by simulating natural echoes, EQ, decay times and other elements.
I love Altiverb, not just the software, but the company. The crew in the Netherlands has been the leader in IR technology for quite some time now. The IRs they offer every few weeks or so are also top notch and cover so many needs (although I can always, always use more outdoor stuff). Their impulse responses are always top notch.
Q2: I really have not used IRs so much to justify buying an entire library. The best use I've found is when I'm doing on-set recording to go ahead and get some IRs for the space I record in so the post audio folks will have something useful for that they can apply to dry effects, ADR, etc. I'm also curious to see responses to this question.
Q3: Best (purest?) IRs come from a sound that excites every frequency. I generally start with a 4 second burst that sweeps from 10Hz to somewhere around 24kHz. I've also heard a lot of folks like to pop a balloon, shoot a starter pistol, etc - key is to have an impulse that hits every frequency and has some time to decay in the space. Once you have that down, you can really do anything - hit a cymbol, scream, play back a lion's roar. It will all create something interesting and keep the essence of the impulse.
Audio Ease have made themselves the go-to company for convolution reverb, starting with the first release of their original convolution plugin, Altiverb back in the early 2000s. Since then, the company has been traveling the world for more than a decade and a half, collecting impulse responses from hundreds of unique and famous spaces.
With our BOOM Library OUTDOOR IMPULSE RESPONSES library, you get 68 great outdoor impulse responses to place your sounds into specific locations and make them sound as plausible and realistic as possible.
The third page is dedicated to the Early portion of the impulse response (IR), and so the early reflections of the resulting reverb. The Length control determines what TL Space will consider to be the early part of the IR. It is best to adjust this whilst viewing the waveform display; you will see that as you adjust the Length control, the section of the IR that TL Space allocates as 'early' is highlighted. The Length value is specified in 'm' rather than 'ms', but is actually measured in milliseconds, not metres!
The fourth page, Reverb, controls the reverb 'tail' section of the IR. High- and low-frequency shelving EQs both have frequency and gain controls, and are prior to the convolution process in the signal chain. The Width controls the perceived stereo spaciousness of the reverb tail, but remember that if there is relatively little stereo content in the IR, this control won't have much effect. Balance controls the position of the reverb tail in the stereo image and, finally, the Reverse control reverses the IR waveform and will also control the total length. Again, it is best to adjust this whilst viewing the waveform display; very helpfully, this control displays its results in beats per minute, to help the user sync the reverse effect with the tempo of the piece. Any impulse response longer than five seconds will be truncated when Reverse is used.
Most professional impulse response libraries are recorded instead using a swept tone file. This method requires good-quality audio playback technology to replay the sweep tone accurately within the acoustic space to be sampled. You then record the sound of the swept tone in the room, and use a so-called 'deconvolution' algorithm to extract an impulse response. If you run a Mac and have Apple's Logic you already have the tools to do this: for a detailed guide, read the February 2008 issue of SOS (www.soundonsound.com/sos/feb08/articles/logictech_0208.htm).
The inexpensive Voxengo Deconvolver is a PC utility that can create impulse responses from recorded sine sweeps.PC users shouldn't feel left out, as there is a Deconvolver application from Voxengo that will take a recording of a swept sine wave and convert it into an impulse response. The full version of Deconvolver only costs $39.95, and there is a free demo version that will allow three conversions per session.
FuzzMeasure Pro is a Mac utility that can 'deconvolve' a sine sweep to create an impulse response suitable for use in TL Space.For Mac users without Logic, the best solution is a software package called FuzzMeasure Pro. The current version (v3) requires Leopard, but the nice people at Supermegaultragroovy can supply a copy of v2, which is designed for Tiger, and will be what most of us Pro Tools users will need at this time. It currently costs $150, with a 14-day demo available, and it should be remembered that it is really an acoustics analysis application. However, IR recording and analysis functions are all built into the application, and once you have swept your chosen space it is possible to export an impulse response, which you can then import into TL Space or any other convolution reverb. Remember to take pictures of the location, so you can see it when you select it in TL Space!
It's worth remembering that you can 'sample' other audio gear, as well as acoustic spaces. The basic rule is that any linear process that is not time-variant can be successfully captured as an impulse response. This rules out compressors, distortion circuits and modulation effects such as chorus or flange, but includes reverbs, delays and loudspeakers, among other things.
The easiest way to excite effects units and get an impulse response from them is to hit them with a single full-level sample, record the output, and use that sound as the impulse response. This way you can recreate patches from classic hardware reverb units and other effects processors and have them in a Pro Tools Session without having to own one of these classics. You should be able to track down impulse responses of most of the classic units on-line; indeed, quite a few come with TL Space, including the EMT250 and AMS RMX16.
You can extend this principle and take impulse responses from guitar amps as well as things like telephones and car radios. You can even take an impulse from a film location, so that when the dialogue is later replaced you can use a convolution reverb to process the replaced dialogue to match the original location. The TL Space Post Production set has a very good range of locations, and another set I find useful in post-production work is called Tiny Spaces and includes environments such as flowerpots, glass cups and a hose from a vacuum cleaner. 2b1af7f3a8