This would be particularly true of a budget tube EQ such as the Aphex 109. Making an IR from such a unit can make sense, but it will leave out a number of the unit's intrinsic properties, such as harmonic distortion, background noise and dynamic behaviour. To get a better understanding of the issue, it may be useful to consider to what extent an impulse response is able to capture the sonic characteristics of a hardware EQ - not a theoretical filter, but an actual analogue outboard EQ, which does much more than frequency filtering. Neither of these features can be captured inside an impulse response file. This unit's interest lies in the compression's attack and release shapes, as well as in the fantastic colour of the harmonic distortion it generates when pushed hard. For instance, trying to generate an impulse response from a Manley Variable Mu compressor just doesn't make any sense.
They're just not the right tool to capture compression, distortion, pitch‑shifting or modulation effects. It's very important to understand that impulse responses are not able to capture anything else. These can be of two kinds: reverberators and filters.
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They're designed to be used in convolution engines that know how to interpret this information. Impulse responses are audio files that contain information about audio transformations. To master the process of impulse response convolution, it's important to be aware both of what it can do and what it can't do. Convolution reverbs provide a convenient way to extend the notion of reverberation to new limits, and discover sounds that were previously unheard - and that's what we're after here. We will study impulse responses and convolution plug‑ins for their ability to transform sound and create particular timbres. In this article, we'll forget about realism, and remain open to the idea that an impulse response (or IR for short) recorded from a cardboard tube and then processed digitally using EQs or any other audio tool provides as interesting a timbre as one recorded realistically from Vienna's Musikverein venue. Going further, one can add reverberation purely for sound‑design purposes, in which case realism is not an issue.Īs we can see, there are many points of view from which to consider reverberation. In this case, realism in the reverberation can be welcome, but it's not the main purpose. Certainly, reverberation can be used to give recorded music a sense of being performed in a real acoustic location but it can also be used to provide an acoustic environment to a given track so it stands apart from the mix. Moreover, when we're using reverberation in a mix, realism isn't necessarily required, nor is it always welcome. Peter's Basilica produces reverberation, and so does your shoe cupboard: two transformations that have little to do with each other from a perceptual point of view, though they both qualify as reverberation.
That said, realism in terms of reverberation is not always an easy concept to define, reverberation being a complex and multi‑faceted phenomenon. Impulse response convolution is best known as a technique for adding reverberation to a given sound in a realistic way.
I have also provided a number of impulse response files corresponding to the relevant audio examples, as 24‑bit, 44.1kHz WAV files. Most reverberation examples are based on a single dry audio file that was recorded inside an anechoic chamber (see audio example 1). The audio examples are all numbered, so I'll refer to them simply by their number in the text. This article is accompanied by a number of audio examples, which are available on‑line at /sos/sep10/articles/convolutionaudio.htm. I'll be proposing several innovative methods for impulse response authoring and processing, and offering an original understanding of reverberation. Being audio files, impulse responses can be edited, modified and even created from scratch, and we'll see how this opens up new ways of processing sound. In this article, however, we'll be exploring the creative side of convolution. The common perception of convolution reverb plug‑ins, which are based on the use of impulse responses, is that they offer great realism, but limited potential for experimentation. When is a reverb not a reverb? When it's a filter, of course! There's more to convolution than meets the ear, and creative processing of impulse responses can yield extraordinary results.
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