I know what you’re thinking: this is some super-audio-nerd-type stuff. Since I was happy with the reverb tone I had achieved, I saved the preset to use on future sessions. I added a bit of pre-delay and dampened the lows and mids, and I ended up with a very pleasant-sounding reverb that was generated from my empty living room. I noticed a boxy tone in it as well, so I opened the EQ-Curve tab and cut approximately 600Hz out. Right off the bat, I noticed it was a little darker and shorter than I wanted, so I adjusted the Bright, Size, and Reverb Time controls to my liking. I tried a couple of the slates but ultimately decided to move forward without any preset.įrom there, I imported a vocal from a previous session I had worked on and applied some of my living room reverb to it. These include treating the dropped audio as a slate from a movie set, a starter pistol, or one of Audio Ease’s sweeps, which can be played back through a speaker in a space. Altiverb has a couple of preset post-processing options that allow it to more accurately re-create the reverb. Once the impulse is dropped, Altiverb looks at the file and gathers the information it needs in order to accurately re-create the reverb heard in the recording. I went to the IR Import tab and dragged and dropped the exported impulse into the plug-in window. I needed a convolution reverb to import the file into - I chose Altiverb 7 by Audio Ease. I also applied an EQ with a highpass filter to remove any rumble and give the top end a slight lift to bring out some sheen to the sound. I listened through the decay and let it go a half second past the point where I could no longer hear the reverb of the space. Then, using the Tab to Transient function, I cut the file to the very start of the clap. Once I located a file I felt was sufficient, I ran it through iZotope RX7 Spectral De-noise to remove as much extraneous noise as possible from the file. I was looking for one that had a nice decay and minimal outside noise. I imported the files into Pro Tools and got to work scanning the files for the best impulse. After about 20 minutes and a pair of slightly sore hands, I had captured what I needed. I did this a few times, changing a couple of variables, such as turning off the heat to eliminate extra noise, clapping in different areas of the room, and making sure no cars were driving by when capturing the IR. I waited for the reverb to decay, held my breath, and clapped again. I grabbed my Shure MV88 iPhone mic (to save time), set it on my fireplace mantel, walked into the center of the room, and clapped as loud as I could. I knew I had to act quickly and capture an IR of the space before the flooring installer came back with more materials that would change the sound of the room. In other words, we can capture the reverb of a specific room and duplicate it within the world of audio production software - specifically, using convulsion reverbs. In the audio world, it’s a snapshot of the acoustic characteristics of a location. I needed to take an impulse response of this space.Īn impulse response, or “IR” for short, captures the behavior of a dynamic system over time when a brief signal or “impulse” is presented to it. It was an instantaneous lightbulb moment. I took one step and heard the natural reverb of the space. I walked in the door after work and was greeted with my concrete slab foundation and all of the furniture moved out of my living room. I was getting new flooring installed in my house recently.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |