įYI - In case anyone is interested or cares. Yeah, I can't 'see' the point in Vista for audio.
#Sir2 reverb free download Pc#
I can remember not too long ago when putting together a PC for audio was a very serious undertaking now you can buy an off-the-shelf laptop, hook up something like the Konnect and there it is.ĭavidSpearritt wrote: It came with Vista and a whole lot of unsolicited crap installed but this only last minutes before it was nuked, of course. Granted, you're probably running some DSP in the TC box, so I'm going tangential here, but nonetheless. Well I'll be hornswoggled! Īctually, I love the fact that standard off-the-shelf PCs and laptops are now powerful enough for most audio needs. Runs so quietly you can record in the same room. T61, 2GB ram, 2.2Ghz Core Duo (T7500), 160 eSata drive, 15" widescreen, 1394a, Wireless etc etc. Bricasti looks like a wonderful bit of gear, but the budget doesn't extend that far at the moment.ĭavidSpearritt wrote: Just bought a cheap Lenovo, but they are pretty powerful machines now.
In the meatime I will probably buy SIR2 and some of those Penguine impulses and also continue to use the new TC box. James is working on a fantastic point source speaker system to radiate big SPL's in as close to point source as possible, so its still going to be awhile yet. My acoustical mate James Heddle and I are still planning to go into the Con Theatre and measure it carefully and properly at 44/24 and 96/24 with a variety of mic techniques. After all you are trying to reproduce what happens at the mics during a real recording.
The measurement mics should be omnis because you want flat pickup and you want the return from the hall, ie behind the mics, but it would also be interesting to have Blumlein and ORTF measurements as well. I reckon the sound source should go where the musicians are and the measurement mics should go where you would stick a couple of omnis for a main pair. While a spark or balloon burst or gunshot has a flat frequency emission, there's not enough energy there to excite the hall properly, so generally a swept sine is the way to go. The measurement process is extremely important and quite complex. Speaking of which, what technique do you use to capture the room's response? Mono, coincident stereo, near-coincident stereo, spaced omnis, etc. Then there's the question of whereabouts to place the impulse source in the room, and where to place the microphones. What is required to make a good impulse? I'd imagine you'd need a sound source that could excite all frequencies equally (20Hz to 20kHz) and evenly (i.e. Simmosonic wrote: Its only limited by the quality of the impulses, many of which are still not well aquired. They would be more necessary in the production of electronic, electro-acoustic and midi based music.
If we had great sounding spaces easily available to record in with lots of time to set up microphones, there would not be such a need for electronic reverbs for enhancing acoustic music. It could be criticized as sounding too "perfect" (like an idealized version of a real space). As I understand it the Bricasti is a completely synthetic reverb, modeled by the designers to sound like real spaces and improved versions of studio reverbs, not exactly what one would expect to sound "natural".
#Sir2 reverb free download software#
It's been said that the software reverbs are limited in sound quality due to the limitations of a computer's dsp, and have to make comprimises in the overall reproduction of the original dry sound. I haven't heard the Sony either so I can't comment on it. In practice I've found it subjectively to work well as long as the reverb effect is kept to an absolute minimum, unless the original recording already has a fairly noticable background of reverb, otherwise it starts to sound quite unnatural in a destracting way. I certainly agree with you about the theory of convolution reverb, although
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