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  • David Michael Tardy

WAVES IR-L Convolution Reverb


WAVES IR-L Convolution Reverb

Loving the WAVES IR-L Convolution Reverb plugin. It allows me to place my orchestral compositions or any other compositions / sound(s) in real, existing acoustic spaces, as well as customize them and create my own. <3



What the hell is convolution reverb?


Convolution reverbs use impulse responses of real acoustic spaces. The impulse response is captured by generating a known signal in the required environment and recording the result. The convolution process effectively cross-multiple's the impulse response with the dry audio so that the end result is that the source audio sounds as though it was originally recorded in the real space. This apparently simple procedure is, of course, very complex in practice! If the reverb tail takes ten seconds to die away, the convolution process requires that for each individual sample in the source signal (the one we want to add reverb to), we have to replay a string of half a million samples of reverberation, with each sample suitably modified in level in accordance with the amplitude of the source audio signal. Changing the gain of digital signals requires a multiplication process for each and every sample, and the convolution process gets even more complicated when you consider that this stream of modified reverberation samples then has to be added to the all the other strings of reverberation generated by all the proceeding (and following) audio samples, as well as to the audio samples themselves. And that is one hell of a lot of multiplications and additions! Fortunately, this 'multiplication and add' process is a common requirement in digital signal processing and modern DSP chips (and even multi-functional computer processors) can perform them at huge speed. It requires a lot of calculations, but the process itself is very simple -- and a lot less demanding than having to synthesize sufficient individual reflections and decay tails to simulate natural reverb. In effect, the original room impulse response already incorporates all the hard work.

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CONCERT HALLS:

Kirishima.

Uhara.

Rome Santa Cecilia Auditorium (small, medium and large halls).

Clairmont Hall.

Herbert Zipper Hall.

Ingram Hall.

Sydney Opera House Concert Hall.


AUDITORIUMS:

Atherton.

Parma Auditorium.

Ryman Auditorium (Grand Ole Opry).


THEATERS:

Noh Drama Theater.

Rishon Letzion Heichal Hatarbut.

Wells Fargo Pavilion.


SMALL ROOMS:

Knights Halls (small hall).

Hamon Studios (small concrete room).

JamSync Bathroom.

JamSync Florida Room.


MEDIUM HALLS:

Azrieli Hall.

Knights Halls (medium hall and Refectorium).

Sydney Opera House — The Studio.


CHURCHES:

Belle Meade Methodist Church.

Presidio Chapel.

St. John Church.

St. Paul's Chapel.

Stanford Memorial Church.

Trinity Church.


RECORDING STUDIOS:

Mishkenot Shaananim Music Center.

Hamon Studios.

Cello Studio 1.

Masterfonics Studio tracking room.

Schnee Studios.

Signet Sound Studio A.

Sound Emporium Studio B

Stockton Studio C.

Westlake Audio Studio D.


OUTDOORS:

Nekarot Cavern.

Luzit Cave (medium and large).

Knights Halls (courtyard).


OPERA HOUSES:

Teatro Valli.

Sydney Opera House Opera Theatre.


AMPHITHEATERS:

Siracusa Greek Theater.

Taormina Greek Theater.

SCORING STAGES:

Todd-AO.


CLUBS:

Birdland.

Bluebird Cafe.

The Bottom Line.

The Kitchen.

The Knitting Factory.

TLV.


STAIRWELLS:

Skyscraper stairwell.


CAR INTERIORS:

Ford Econoline 150.

Lincoln Navigator.


STADIUMS:

Gaylord Entertainment Center.

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