![]() The bottom-center portion displays four different groups of parameters: Damping & Gains, Stage Positions, Equalize, and Options. Here you can see pictures of the space, take a 360-degree look at it, read more about the location, etc. Additional information about the space or equipment in the Info window to the right. The other two tabs here are for displaying the IR in different ways. As most spaces were sampled several different ways, helpful information about distance and the type of mics used is part of the IR names. It organizes all installed IR’s into categories, the names of the spaces or pieces of gear, and then lists the actual IR names for each. The IR (impulse response) browser is located in the main display window (top center) and is accessed by clicking on the IR browser tab just above it. It’s nice that the folks at Audio Ease realize that different people have different preferences.Īltiverb 6 – actually now 6.3.3 via free updates – has so much going on under the hood, but it is easy to understand and use thanks to its innovative displays, intelligent use of tabs that reduce a number of options (that would otherwise use up most of your screen) to a modest footprint, and a well-organized layout that is informative without being overwhelming. Speaking of, the software offers two methods for the task: challenge/response or iLok authorization. The response was kind and prompt and got things ironed out so I could proceed with authorizing the product. Though I did have to email the manufacturer to figure out what I was doing wrong at one point, I think it had more to do with the fact that I got the license through MFM and I was entering incorrect information during the authorization process. Installation was fairly straight-forward. ![]() (For more on the history of reverb techniques, devices, and the people who pioneered them, check out this article from Universal Audio: The Basics of Reverb ) Ease of Use It’s robust convolution engine, intuitive user interface, and extensive, ever-evolving library of free impulse responses of spaces (and gear) from all over the world make it, in my opinion, the poster child for convolution reverb plugins. Audio Ease’s Altiverb 6, one of the first convolution reverb plugins made available for personal computers, is just such a processor. They both have their own sound, and I use both types, choosing the one that will be the most flattering for a track given the goals of the piece.īecause of the intense number-crunching necessary, convolution reverbs used to only be available as (very expensive) hardware units, but as the speed of modern personal computers has increased and the code refined, the technology has found another home in plugins that run full-quality convolution reverbs on a computer’s CPU. Both reverb types are very viable and used every day by audio professionals the world over. Reverb generation based on the convolution technique uses Impulse Responses created from recorded samples taken from actual acoustic spaces to essentially infuse the acoustical properties of those spaces into the signal running through the processor. Once a manufacturer has an algorithm perfected they create many presets based on that algorithm for their product, which will include anywhere from several to many user-addressable parameters by which the lucky owner can change the variables within the formulas in a user-friendly way. The former uses proprietary algorithms based on various mathematical formulas to simulate the acoustics of different types of rooms. Today’s digital reverb processors generally fall into one of two categories in regards to how they produce their effects: algorithm-based and convolution-based. The process has undergone a great deal of mutation since then, with the creation of reverb devices utilizing anything from metal plates, springs, a series electronic delay lines, all the way to modern digital equipment with powerful IC’s. ![]() and the like thought, “Hey, we have this facility with all kinds of rooms – why don’t we play back an audio signal miked in a dry room (one with little reverberation) into a wetter (more reverberant) room with a loudspeaker and mic the results?” And thus, the art of applying additional reverberation to tracks was born. Then studio engineers like Bill Putnam Sr. ![]() Of course, when shooting for realism, the initial (and still the best) solution was to actually record the sounds in those environments – concert halls, theaters, living rooms, vehicles, etc. The need for audio engineers to make tracks sound as if they are coming from various types of acoustical environments is as old as audio production itself, and has only intensified with the use of audio in film. ![]()
0 Comments
Leave a Reply. |