Waves Parametric Convolution Reverb IR-1 Manual de usuario

Waves Parametric Convolution Reverb

IR-1, IR-L and IR-360

User’s Guide

Waves IR-1 software guide page 1 of 40

TABLE OF CONTENTS

Overview

Synthetic Digital Reverberation

Sampled-Acoustics Convolution Reverberation

The Perfect Hybrid

The Impulse Responses

IR Library

Factory Presets

Sampled Acoustics V2

Virtual Acoustics - Devices and Synthetic

Import Impulse Response from File…

Import Sweep Response from File…

Tips for Sampling an Acoustic Space

MEASURING VINTAGE PLATES,SPRING REVERBS OR ANY REVERB UNIT

MEASURING HALLS,ROOMS

IR-series plug-in channel components

About the IR-360:

IR-series Controls and Displays

About the IR-L

Reverb Time

Convolution start:

Convolution Length

Ratio

RT60

Dry/Wet control

Direct:

Offline Calculation indicator

IR-1 and IR-360 Controls and Displays

Reverb Time

Convolution start:

Convolution Length

Ratio

RT60

Reverb Control Parameters

Reverb Density

Reverb Resonance

Decorrelation control

Dry/Wet control

Wet Properties

Direct Signal

Early Reflections

Reverb Tail

Direct:

Direct Gain

Direct Predelay

ER Gain

ER Predelay

Tail

Offline Calculation Indicator

More About Reverb Damping

Damping

HF damping

Waves IR-1 software guide page 2 of 40

LF damping

Reverb EQ

ER Buildup

ER/TR-X Crossover

IR-360 Controls

Toolbar WaveSystem Controls

Loading Impulse Responses

Saving

Importing Impulse Responses

IR Info and Properties

Notes on “Flat Points” or Unity Gain Settings for Controls

System Requirements

Notes CPU about Optimization

IR-1 HTDM

Waves IR-1 software guide page 3 of 40

Introduction

The Waves IR-1, IR-L and IR-360 plug-ins create extremely high quality replicas of

acoustical spaces and synthetic reverbs. They also allow the user to alter many

aspects of the sound of these reverbs.

For the purpose of this Manual, when discussing attributes shared by the Waves IR-1,

IR-L and IR-360 Parametric Convolution Reverb plug-ins, we will simply refer to them

all as the IR-series.

Overview

The Waves IR-series are convolution-based reverb processors. They give the user

total control of a reverb's properties. Impulse Response Convolution is the process of

forcing a certain acoustic signature on any incoming audio signal. An Impulse

Response (IR) is created by feeding a very short pulse (Impulse) into a linear system

and measuring the resultant output (Response).

Synthetic Digital Reverberation

Historically, most digital reverberation processors have used a synthetic reverberation

engine for high efficiency. This would usually consist of two reverberation generators:

•The Early Reflections Generator. This generator is based on a short Finite

Impulse Response (FIR) filter with less than 100 reflections. A short stage of

convolution is performed with this FIR.

•The Reverberation Tail Generator. This is based on a recursive Infinite Impulse

Response (IIR) filter. The IIR comprises a feedback loop with a decay factor and

inner dispersion filters. It makes the reverb more complex, less resonant, and

more rich and natural sounding.

The tail generator is efficient. It can generate a one-second reverberation time or a five-

second reverberation time using the same amount of processing power. Such reverbs

usually allow a great deal of control over the reverberation properties. These controls

have become classics. They include Reverb Time (RT), Predelay, Size, High and Low

Frequency Damping, and Diffusion.

Typically, the goal for using a reverb is to emulate the acoustics of natural spaces such

as rooms or halls, or to add "wet" reflections to "dry" sources for creative and aesthetic

reasons.

Examples of these reverb processors include the Waves TrueVerb and Renaissance

Reverb.

Waves IR-1 software guide page 4 of 40

Sampled-Acoustics Convolution Reverberation

In math, the term convolution means an integral which expresses the amount of overlap

of one function x as it is shifted over another function y. In the literal sense, it means to

“roll together” or to “fold together”. A convolution reverb blends together an input signal

with another type of audio signal called an impulse response.

Sampled-acoustics convolution processors are a different type of digital reverb than the

digital reverbs that preceded them. They are much more calculation-intensive, but offer

the ability to faithfully convolve any given impulse response with any input signal.

The Impulse Response (IR) of a certain reverb hardware setup or the acoustics of a

real space can be captured and imported into the sampled acoustics reverb. It will use

the Impulse Response as a filter consisting of thousands of reflections. The longer the

IR, the more intensive the calculation, and thus the more processing power that will be

required.

The result is that running a dry signal through a typical sampled acoustics reverb will

sound much like running it through the original device with the same settings, or like

recording the signal in the sampled space with a microphone setup similar to the one

used for capturing the acoustics. These reverbs usually offer very little control of the

reverberation properties and are essentially designed to faithfully super-impose the

sampled acoustics.

The Perfect Hybrid

The Waves IR-series plug-ins are designed to bridge the gap between synthetic digital

reverberation and sampled acoustics convolution reverberation. They provide a

convolution-based reverb processor with total control of the reverb parameters. The IR-

series uses the impulse response as raw material. This allows the user to process the

impulse response with controls that are similar to those offered in classic digital

reverbs.

The process is power intensive. However, the manipulations performed on the impulse

response are calculated offline so that they don’t consume all of the CPU’s power.

Then they are applied by way of straightforward convolution.

The result is that you have the natural and high-quality sound of sampled space

acoustics as well as the controls to shape the sound to your needs. These

manipulations go beyond those offered in regular digital reverbs.

Waves IR-1 software guide page 5 of 40

The Impulse Responses

Another major part of the IR-series is the Impulse Response (IR) Library. The library

offers a set of high-definition IR’s. Waves paid special attention to this part of the

product because it is the basic reverb sound of the IR-series reverbs. We established a

special recording setup and method specifically for IR recording. This method provides

exceptional signal-to-noise ratio, very low harmonic distortion, and a wide frequency

bandwidth (20Hz-32kHz). Thus, it offers optimal sonic depth and dimension.

This method for taking acoustical measurements was developed by Waves in

collaboration with Professor Angelo Farina of the University of Parma in Italy. The basis

of the acoustic capture method was documented and presented in the AES (Audio

Engineering Society) paper Recording Concert Hall Acoustics for Posterity. To see this

article, please check out the following link:

http://www.waves.com/objects/pdf/general/article_farina05.pdf

IR Library

The library that is included with the purchased IR-series covers all of the reverberation

needs of the most demanding studio professionals. It consists of 4 main parts:

•The Basic IR set is installed with the IR-series.It is available in the

downloadable demo as well as in the full product.

•Sampled Acoustics V2 contains a set of world-class Concert Halls, Opera

Houses, Cathedrals, Studios and more. These are natural spaces captured in

the USA, Italy, Japan, the UK, Israel, Australia, and more. Our original Sampled

Acoustics library has been reprocessed with enhanced quality, and new micing

techniques were added. In accordance with our vision of continuously expanding

the IR library, new venues have also been added to the library.

•Virtual Acoustics - Devices contains Sampled IR’s from classic reference

reverb hardware.

•Virtual Acoustics – Synthetic contains synthetically generated or pre-

processed IR’s.

Waves IR-1 software guide page 6 of 40

Accessing these IRs is easy. Select the desired preset from the plug-in’s “Load” button,

which will present the menu as follows:

Factory Presets is the first section. It is available with the installation of the IR-series,

even for demo purposes. The IR data for these presets resides in the folder

"IR1Impulses V2" in a directory called Basic.

The Path is:

Waves Plug-Ins dir/IR1Impulses V2/Basic.

The Custom Setup group contains presets that only have settings. These presets can

be loaded onto any IR.

Waves IR-1 software guide page 7 of 40

Sampled Acoustics V2

The presets in this section are based on samples of real places. The contents of the

Sampled Acoustics V2 folder on the DVD have to be copied into the IR1Impulses V2

folder inside the Waves Plug-Ins folder. You can add or delete folders from this

directory. Each time upon loading, the Plug-In will scan the directory and dynamically

build its preset menu according to the folder hierarchy.

Virtual Acoustics - Devices and Synthetic

The presets in the Virtual Acoustics-Devices section are samples of a reference

hardware Reverb Unit. The Virtual Acoustics-Synthetic presets are synthetically

generated and processed IR’s. The contents of the Virtual Acoustics folder on the DVD

have to be copied into the IR1Impulses folder inside the Waves Plug-Ins folder. You

can copy the Devices and/or Synthetic folders into the IR1Impulses folder, and the

Plug-In will scan them upon loading.

Import Impulse Response from File…

The IR-series allows you to import your own IR’s. You can sample them yourself,

download them from the Internet, or find them elsewhere.

Import Sweep Response from File…

The IR-1 and IR-360 allow you to import the Sweep Response that you record in an

acoustical space or hardware device. The plug-in will then process that Sweep

Response into a new IR.

Here are step by step instructions to make your own IR:

- Play your sweep file supplied on the CD and also downloadable from the Waves

website (a 15 second sweep followed by 10 seconds of silence) through

speakers in the room to be captured.

- Record the result with 1 or more microphones to 1 or more tracks.

- Create a new folder (We'll name it "My Sweeps") inside your "IR1Impulses V2".

folder, where the plug-in searches for new IRs.

- Put your recorded sweep files inside your new "My Sweeps" folder.

- Load the IR-1 or IR-360;Press Import Sweep Response From File…

- Guide the browser to the "My Sweeps" folder.

- Load the .wav files one by one as you are prompted by the plug-in.

- After some calculations, an Impulse Response .wir file will be automatically

saved next to your sweep files in the "My Sweeps" folder.

- To save this new IR as a preset, press Save, then select Save to New File.

- Navigate to the "My Sweeps" folder.

- Reload the IR-1 or IR-360; The new preset will appear in the load menu.

- Congratulations! You have created a new IR! You may now optionally delete the

recorded sweep files from the "My Sweeps" folder.

Waves IR-1 software guide page 8 of 40

Tips for Sampling an Acoustic Space

When sampling an acoustic space, a typical setup includes a multi-track recorder, an

amplifier and speaker to play the sweep signal into the space, and one or more

microphones (and mic preamplifier(s), if needed) to capture the sound.

Ideally, the speaker, amplifier, microphone(s), and microphone preamplifier(s) used

should be as transparent as possible, having flat frequency responses. A microphone

of any polar pattern will work, although we recommend cardioid or omni-directional

microphones for optimal results.

In most venues, the speaker that plays the sweep tone should be placed where the

performers would be; on stage in a concert hall, for example. The microphone should

be placed somewhere in audience area; naturally, a microphone placed closer to the

stage will capture more direct sound and less reverberation than a microphone placed

in the last row. Keep in mind that the presence of a full audience, as well as musicians

or musical equipment on the stage, will absorb sound and dramatically change the

reverberation quality of the acoustic space.

MEASURING VINTAGE PLATES,SPRING REVERBS OR ANY REVERB UNIT

The measuring procedure is quite similar to a normal voice processing (via the plate or

the spring unit). The difference is that we do not use an aux send. Instead we connect

the output of our sweep playback device directly to the plate or spring reverb device.

SET UP:

Connect the output of your source (Pro-Tools HD card, etc…) directly to the input of the

measured unit. As for the output of the measured unit, connect it directly to the

recording device (HD card, etc…)

Output source (HD card, etc…) ÆInput of the plate.

Output of the Plate ÆInput of the recording device (HD card, etc…).

SESSION:

Create two different channels. The first channel will be the sine sweep channel. We use

a simple sweep signal, which is a pure tone whose frequency is changed continuously

from low to high frequency. The second channel should record the wet signal, which we

receive from the plate reverb. If there is more than one setting on the unit please

measure them all. For instance, reverb settings (1-5), mono-to-mono, mono to stereo,

and stereo to stereo.

Waves IR-1 software guide page 9 of 40

MEASURING HALLS,ROOMS

The measuring procedure of a venue is slightly different than that of measuring

devices. Measuring venues requires a larger setup, which includes a playback device,

a microphone and a loudspeaker. We can use the same session we were using for the

device recordings, only instead, we connect the output of our playback device to a

speaker, and a microphone should be assigned to the input of our recording device.

SET-UP:

Connect the output of your source (HD card etc…) directly to or through the mixing

console to the loudspeaker. For the input, connect the microphone cable directly to or

through the microphone pre amp to the recording device.

Output source (HD card etc…)ÆInput of the speaker.

Microphone cable ÆInput of the recording device (HD card etc…).

You can use a microphone of any kind, with any polar patterns. We recommend a

cardiod or omni-directional microphone. After deciding which microphone to use, set up

the microphone with the speaker located in front of the microphones, to achieve the

best results.

MONO SESSION:

To make a Mono IR, create two different channels. The first channel will be the sine

sweep channel and should be assigned to the loudspeaker. The second channel

should record the microphone signal.

MONO TO STEREO SESSION:

Simultaneously record one speaker (Center) with the Left and Right mics.

FULL STEREO SESSION:

To create a 4 convolution IR, Record your Left speaker with the Left mic (LL) and Right

mic (LR). Then record the Right speaker with the Left mic (RL) and the Right mic (RR).

IR-SERIES PLUG-IN CHANNEL COMPONENTS

The IR-series is available in several channel configurations as follows:

Mono to Mono: 1 convolution

Mono

Mono Convolution Out

Waves IR-1 software guide page 10 of 40

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