![]() This is a bit of a hack, but I’ll mention it anyway. In this case, convolution reverb does the trick. Of course, it’s hard to get into Madison Square Garden or San Quentin to capture the real thing. An example may be a buzzer that you’ve recorded closely, but wish to put in another space, such as a basketball buzzer in a gym, or prison cellblock door buzzer. ![]() There are times you may need to transpose field recordings into entirely new locations. While algorithmic reverb is useful for sound design, it didn’t fit with mastering realistic field recordings. I found it difficult to create convincing results. However, for the clips I capture, creativity defers to accuracy during the mastering stage.įor this reason, I was unimpressed with reverb plug-ins I had tried. I love creative performances of bulldozers or market stall swindlers. Why? My goal when capturing field recordings is to “recreate reality.” I aim to capture clean, evocative clips of machines, atmospheres, or cultures. I’ve written in the past that I prefer not to apply processing when mastering sound effects. I, however, had another plan in mind when I purchased Altiverb: tweaking field recording clips. ![]() Some say that the tails are “dead on arrival.” I’m guessing that’s because the critics’s projects require reverb in ways that don’t match convolution’s merits. Some people have an issue with convolution reverb. It may sound “artificial,” but that’s just another way of saying it adds compelling character to music mixes and sound design. Convolution is often referred to as “literal.” It’s meant to emulate a particular space. The market is overwhelmingly populated by algorithmic reverbs. In that sense, algorithmic reverbs allow more flexibility when adjusting settings. However, you can’t make a Grand Canyon IR sound like an urban alley. Small alterations are possible, of course. Because convolution reverbs work within the scope of a particular impulse response, it’s hard to dramatically change their shape. Convolution reverb is harder to tweak.That means less instances of it can be used at once. A convolution reverb’s sample multiplication requires intense calculations that hog your computer’s power. Algorithmic reverbs are lighter on the CPU.Want the operetta you recorded at home to sound as if it was sung in a famous music hall? Apply the Sydney Opera House setting and you won’t be able to tell the difference. It’s stunning how convolution reverbs make sound seem as if it was originally performed in an exotic space. Convolution reverb is incredibly realistic.What’s the difference for sound effect pros? The software then convolves, or multiplies each sample of your original guitar chord with the samples in the impulse response and, voilà!, your death metal chord now seems as if it was played in the warehouse, too. That snapshot becomes a template that is loaded into software. Whichever the choice, this recording captures how sound performs in that space. Some people use a sine wave sweeping across the entire spectrum. ![]() This impulse response is created by recording a brief, loud sound in the warehouse (a starter pistol, clapperboard, or balloon pop). How do convolution reverbs do this? They use something called impulse responses.Īn impulse response (IR) is an audio snapshot of the reverberation created in a particular space. The end result is that your chord seem as if it was actually recorded in the Taj Mahal. Convolution reverb takes your source sound (let’s say a death metal guitar chord), and applies the characteristics of those spaces to it, sort of like a template.
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