Waves IR-L, IR-360, IR-1 manual Tips for Sampling an Acoustic Space

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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…) Æ Input of the plate.

Output of the Plate Æ Input 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.

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Contents User’s Guide Table of Contents Waves IR-1 software guide page 3 Synthetic Digital Reverberation IntroductionPerfect Hybrid Sampled-Acoustics Convolution ReverberationIR Library Impulse ResponsesPage Virtual Acoustics Devices and Synthetic Sampled AcousticsImport Impulse Response from File… Import Sweep Response from File…Tips for Sampling an Acoustic Space SET-UP Page About the IR-360 Channel Configuration # of ConvolutionsWaves IR-1 software guide page 13 Waves IR-1 software guide page 14 Waves IR-1 software guide page 15 About the IR-L Reverb Time Latency Offline Calculation indicator IR-1AND IR-360 Controls and Displays Reverb Time Reverb Control Parameters Wet Properties Direct Signal Reverb Tail Latency Reverb Envelope Offline Calculation Indicator More about Reverb Damping Reverb EQ High Shelf Filter This control is only available in the Efficient components Toolbar WaveSystem Controls IR-360 ControlsLoading Impulse Responses Importing Impulse Responses SavingIR Info and Properties Page System Requirements CPU Mode Switch IR-1 Htdm

IR-360, IR-L, IR-1 specifications

Waves is a trusted name in the audio processing industry, and its range of plugins has consistently set the standard for professional audio production. Among its extensive lineup, the Waves IR-1, IR-L, and IR-360 are renowned for their advanced convolution reverb capabilities, delivering studio-quality reverb effects that enhance any sound environment.

The Waves IR-1 is a high-quality convolution reverb plugin that offers exceptional sound quality and versatility. Featuring a wide array of impulse responses derived from actual acoustic spaces, the IR-1 allows users to recreate the sound of various environments, from lush concert halls to intimate rooms. One of its standout features is the ability to manipulate the reverb tail, making it possible to fine-tune the duration and character of the effect. The IR-1 also includes controls for early reflections, damping, and pre-delay, enabling users to craft a reverb that perfectly complements their mix.

The Waves IR-L is a more streamlined version of the IR-1, designed for professionals who demand high-quality reverb but prefer a simplified interface. While it retains the core convolution technology and impulse response library of the IR-1, the IR-L focuses on ease of use, allowing for quick adjustments without sacrificing sound quality. One innovative feature is its “scalable” plugin structure, which lets users modify the plugin interface size based on their screen space. This makes IR-L ideal for both studio work and live sound applications.

Waves IR-360 is designed for immersive audio and 3D sound environments. By providing surround sound capabilities, it enables users to place sounds in a 360-degree space, making it ideal for film scoring and virtual reality audio. Like its predecessors, the IR-360 includes a rich selection of impulse responses, but it also integrates features tailored for spatial audio creation. This includes customizable parameters for azimuth and elevation, allowing precise control over sound placement in three-dimensional space. Additionally, the IR-360 supports various surround formats, making it versatile for multiple audio production contexts.

In summary, Waves IR-1, IR-L, and IR-360 offer powerful and innovative convolution reverb solutions, each designed with specific user needs in mind. With their advanced capabilities, extensive impulse response libraries, and user-friendly interfaces, these plugins cater to a wide range of audio production applications, setting new standards in reverb technology. Whether for music production, post-production, or immersive audio experiences, these tools are essential for achieving high-quality soundscapes.
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