![]() One should be available for most Impulse Responses in the Altiverb collection. You may, as we do, prefer the native Altiverb 8 way: if you have just upgraded to v8 when opening your Altiverb 7 project or template we advise you to open your Altiverb 5.0 input to 5.0 output instances and load the true 5.0 Impulse Response in there. Altiverb 8 will load the IR that was chosen in Altiverb 7, including the center bleed. Center reverb was created via the center bleed option, a delayed mix of the rear channels in the front. In a 5.0 input to 5.0 output instance of Altiverb 7 a stereo to quad output IR was loaded by default, mainly because no 5.0 IRs existed in Altiverb 7. The 5.0-in 5.0-out Altiverb 8 loads new true 5.0 IRs by default, implements easy center-channel-only reverb with input pan following and adjustable cloud size.įor Post this instance has undergone massive improvements and it was the most challenging to keep it backward compatible. The 5.0-in 5.0-out Altiverb, however is mainly targeting post. Levels are improved in Backward compatibility situations for the Altiverb 7 instances with input-output: quad to quad, 5.0 to 5.0 and 5.1 to 5.1.Īltiverb is a music and post reverb. ![]() Color is adjusted between neutral (flat) and the actual direct sound that is in the Impulse Response (IR), which sounds more realistic, but can give unwanted coloration as it can contain a very early reflection from an on stage piano or the stage itself, and also includes speaker and microphone coloration.Įarly and tail can be switched on or off and the levels can be changed too. The gain and color of the direct sound can be adjusted. The four knobs on the right manipulate the different stages of the impulse response, starting with the earliest part: the direct sound. A demo of this is in the first minutes of the Altiverb 8 guided tour video. You should use it fully wet, but even then you hear quite some dry-ish material, because there is a direct path from speakers to microphones. This is the absolute most realistic sounding virtual playback of your audio in any space in Altiverb. You can also, right there, move the speaker around. Using the positioner tab, available only in mono and stereo input Altiverbs, you can switch on the speaker, in which case you can hear where it stands. So there is a direct relation between the amount of inputs and the speakers used. When making impulse responses, we used either one speaker position in the center of the stage for mono input, or two speaker positions for stereo input. Do not playback loud, to protect the people around you, and do not record loud to make sure you don’t clip the recording.Īltiverb can have mono or stereo inputs.all of these measures will increase the low end in a more complex and natural way than post-eq. If you feel the result sounds too thin, try a speaker with bass reflex ports on its front, or a bigger speaker, or change out directional microphones for omnidirectional microphones. Neutral is crucial if you want to reverberate dialogue and match it to something real. Few speakers when free standing like in the video, sound neutral on-axis at a couple of meters distance. You will find your speaker to be the most critical component.Decide if you would be satisfied if that were Altiverb. To test your setup on the location: play dry music through your speaker and compare the recording in the room to the dry recording.Carefully measure that everything is symmetrical, with large setups, a large error is easily made.Space the microphones far apart, several meters if possible.Hopefully they don't let that detail negatively affect such an incredible work. I also read Cubase wants to discard Vst2 in a while. Which is very annoying because I want to use it in StudioRack on a parallel processing bus so I can process it separately without having to duplicate the track or use a fx or group track. (EDIT: Support confirmed that vst3 is coming + top priority, but no date) Can make it sound a bit fuzzy/noisy and almost synthetic though sometimes.ĪND. It does exactly what it says, but in an interesting, deep and natural way, rather than just boosting the high end. The brightness knob at the bottom is another cool one to play around with. If the tail is 30 ms it can happen after 30 ms, so keep an eye on that and maybe don't crank it up *that* much. The longer the tail the easier to miss this. However at such a high (maximum) value it can cut of a bit abrubtly as it reaches it's end. ![]() That way more of the detail of the long tail is audible rather than fading to silence. I put reverb time/length to 150% which seems to compress/boost the volume of the tail. A huge post production convolution engine with a ridiculous amount of great sounding spaces and oddities.)
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