{"id":21602,"date":"2015-03-03T15:51:51","date_gmt":"2015-03-03T19:51:51","guid":{"rendered":"https:\/\/noelborthwick.com\/cakewalk\/?p=21602"},"modified":"2015-03-03T15:51:51","modified_gmt":"2015-03-03T19:51:51","slug":"sonar-new-york-impulse-pack","status":"publish","type":"post","link":"https:\/\/noelborthwick.com\/cakewalk\/2015\/03\/03\/sonar-new-york-impulse-pack\/","title":{"rendered":"Making The New York Impulse Pack for the SONAR "Braintree" Release"},"content":{"rendered":"

by Dan Gonzalez<\/em><\/p>\n

Impulse responses (IRs) are small bursts of audio data that represent the frequency response of a real life space. By using convolution reverbs we can use them creatively in our productions to increase depth and ambience.<\/p>\n

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The concept<\/h3>\n

To accurately represent a real life space, you need to excite it with a frequency sweep or a loud sound rich in complex frequencies like a starter pistol or snare drum hit. For my IR samples in the New York Impulse Pack I used a sine sweep. The sine sweep is the easiest way to make sure you get an accurate representation of a space.<\/p>\n

Once you capture that space, you must process it with a utility that shortens the
\nfrequency sweep into a state that convolution reverbs can use. Typically this audio data is no more than a split second long.<\/p>\n

I used this workflow to produce the Impulse Responses you’ll receive in our content for users that are a part of the Braintree Release<\/a> for SONAR Platinum and SONAR Professional.<\/p>\n

The equipment you’ll need, and what I used<\/h3>\n

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– Speaker, Studio Monitor, or Full Range Flat Response Speaker. I used a Cerwin Vega P1000.<\/strong><\/p>\n

“The P1000X is a two-way, bi-amped, full-range bass-reflex speaker. It employs a 10-inch woofer and a high-frequency compression driver, powered by a custom Class-D amplifier. With a power rating of 1000 watts, the P1000X is one of the most powerful PA product in its class. A proprietary hemi-conical horn provides premium sound clarity over an even and wide coverage area. A built-in mixer with convenient I\/O connections allows for simple and fast setup, while Enhanced EQ, VEGA BASS boost and High-Pass Filters enable exact tuning and exceptional performance for any application. The P1000X is a versatile product that can be used as a single speaker for small venues, set in pairs or installed with threaded hang points, and combined with the P1800SX Sub for a larger venue needing more coverage and SPL. Its compact size makes it ideal to operate as a floor monitor as well.”<\/em><\/p>\n

– Pair of microphones, the flatter response the better. I had the benefit of borrowing a pair of Earthworks QTC40s.<\/strong><\/p>\n

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– The ability to create a sine sweep. I used this free utility<\/a>\u00a0and then bought the license for $40.<\/p>\n

– An audio interface to simultaneously play the sine sweep and capture sound of the excited space. My RME UFX<\/strong> worked out wonderfully because it has very clean preamps and multiple inputs and outputs.<\/p>\n

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– Of course, SONAR Platinum<\/p>\n

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The Microphones<\/h3>\n

The Microphones I used are pretty high-end reference microphones that have a frequency range from 20Hz-40kHz. These are great because they represent the sound of the room without any color. Since we’re in the business of capturing the sound of room – they make a perfect companion for this type of project.<\/p>\n

Setting up the spaces<\/h3>\n

I setup the microphones in a few initial spots to get an idea of how the space sounded. On my first try it was clear that the space was going to sound good no matter where I placed the microphones and the source speaker. Both spaces are not highly reverberant, they just have quality sounding early reflections – which makes them great for getting initial sounds of drums and vocals.<\/p>\n

\"\"<\/a>The goal was to capture the room in various positions. I setup the microphones in close stereo pairs, distant stereo pairs, and subsequently moved the source speaker around them to bounce the sine sweep off different walls. During the processing stage, I then split these stereo IRs out into mono signals so that users could have a choice between stereo or mono processing. For example, here’s a rough diagram of how I setup the microphones in the center with various speaker locations for one set of IRs.<\/p>\n

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The IRs themselves<\/h3>\n

To excite the space I created a sine sweep with Voxengo Deconvolver.<\/p>\n

BE CAREFUL WHEN PLAYING THESE, THEY ARE LOUD<\/p>\n