1/8/2024 0 Comments Audio ease altiverb![]() In practice, the reverb sounds real and unlike any digital reverb that I've ever heard. Obviously, this is a simplistic explanation and the geniuses at Audio Ease could explain it better, but I think you get the point. The sampling reverb software then removes the impulse response leaving the "sample" of the reverb that other instruments can be played through. Then, an impulse response is played over the loudspeaker and recorded. In the room you want to sample, a high quality monitor speaker is placed and two or more high quality instrumentation mics are set up. Before I go much further, a brief explantion of sampling reverb is in order. You can also see a JPEG photo of the room sampled and where the mics were placed. You can choose between high and low latency modes (forget about doing much else to speak of on the computer in low latency mode), adjust the wet/dry balance and pre-delay, and decrease the impulse sample's decay time. There's not a lot to the Altiverb interface. Even if you don't use DP, you could buy Altiverb, a G4 Cube and DP for about 1/3 of what the Sony box costs and have a dedicated sampling reverb. With all due respect to Sony and their spokesman Bruce Swieden, Altiverb is the sampling reverb for the rest of us. Sony also charges for additional reverb impulses while Altiverb gives them away for free on their web site. It is a sampling reverb like the Sony DRE S777 sampling reverb-the difference is that the Sony box costs $9,000, while Altiverb is $500. Altiverb only does one thing, but it does it amazingly well. ![]() It will only run on a Macintosh G4 (using the Mac's Altivec co-processor) and only with Digital Performer (Although a VST and RTAS version is expected soon). On paper the features might not grab you, but version 5´s control, flexibility and user-friendliness leave version 4 in the shade.This is one very amazing, albeit very specialized, piece of software. Even the photos and VR movies are more than mere eye candy, giving useful visual and cerebral feedback on the captured spaces and gear.įor anyone considering the upgrade, it´s well worth it. Ultimately, it´s the sound that counts and Altiverb 5 does an awe-inspiring job via its elegant, understated interface. Really, the only drawback with Altiverb 5 is that it´s Mac-only, so a lot of musicians might never get to hear it - and to hear it is to love it. It´s also reassuring to see that Audio Ease is snappy with minor bug fixes and refinements. Instead, Audio Ease have added MIDI control for the same functions. Some sequencer-specific issues do crop up, such as the fact that the Audio Units version, for use in Logic, doesn´t offer parameter automation. Crucially, the reverb tails die away perfectly naturally, a sure sign of a well-honed algorithm.ĭespite version 5´s new features, Altiverb is as efficient as ever. It sounds simply as if your audio has been transported to whatever space you selected, with an incredibly lifelike transparency and spatial depth. ![]() It´s a slightly tricky process and relies on the quality of your recording equipment, but it´s perfectly feasible.Īltiverb´s effect is always a revelation, beautifully enhancing whatever signal source you treat. ![]() You can also ‘roll your own´ IRs (for use in Altiverb), courtesy of the IR Pre-Processor utility. Being able to rotate the waveform in three dimensions means you can study every aspect visually and adjust it accordingly.Īside from these enhancements, Altiverb 5 is still a top-drawer convolution reverb plug-in, with hundreds of superb IRs supplied covering every kind of space imaginable - anything from a former brothel´s ping-pong room to the legendary EMT 140 plate unit. It can show either a multi-channel waveform or a rotatable full-colour waterfall view, illustrating the reverb´s frequency content through time. There are also new controls toĪlter the room size, reverse the entire reverb and, to conserve CPU power, a Tail Cut dial.Īlso new is the IR View window. The EQ section has also been expanded, adding two middle bands with sweepable frequency and Q controls to the treble and bass of version 4. The potential here for orchestral work is immense. This works well in conjunction with the Stage Positions feature, which enables you not only to position your musicians in a world-famous concert hall or recording studio, but also to arrange the players on this virtual stage for even greater depth and realism. The three-band Damping section has separate gains and delays for a reverb´s Direct, Early References and Tail reflections, so you can control the timbre or use different sections of different reverbs to create your overall effect - one reverb for the early reflections, another for the body and another for the tail end. The Damping & Gains and Stage Positions options are both new to version 5.
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