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Topic: GOS impulse files

  1. #1

    GOS impulse files

    Can anyone suggest what settings work best for using the Concert Hall impulse files supplied in the latest update for GOS with the string library?

  2. #2

    Re: GOS impulse files

    Depends what program you\'re using. If you\'re using Altiverb I can suggest some good settings but it aslo depends on the instruments as well. If you\'re using Acoustic Mirror then try contacting Ernest Cholakis or messaging him here as he will know the best settings for his own impulse.

  3. #3

    Re: GOS impulse files

    Thanks Hasen but i\'ve got acoustic mirror. By the way thanks for the DDBE impulse demo you sent me a while back; you were right, the impulse files need hardly any tweaking to get good results.

  4. #4

    Re: GOS impulse files

    Originally posted by brewick:
    Thanks Hasen but i\'ve got acoustic mirror. By the way thanks for the DDBE impulse demo you sent me a while back; you were right, the impulse files need hardly any tweaking to get good results.
    <font size=\"2\" face=\"Verdana, Arial\">You\'re welcome, but it was DDSB, not DDBE. I don\'t have DDBE. I\"m sure it translates to DDBE just as well though but of course you have to use the dry versions and not the ambient ones.

  5. #5

    Re: GOS impulse files

    I personally like the wet signal to be anywhere between -15db to -6db lower then the dry source material.

    The \"sweet spot\" mix factor seems to depend on four factors; the density of the textures, the tempo, the rate of change in the harmonic movement and the level of chromaticism in the harmony.

    If most of the above parameters move slower over time and the recording has a \"solid\" tonality then the more ambient the orchestral recording can be (wet level closer to -6db).

    A recording can have clusters and dense harmonies and be very ambient however the other compositional elements need to move slower over time - An example would be some of Legeti orchestral works i.e. Adventures & Atmospheres.

    For what ever this is worth this is what I listen for when determining the desirable level of ambience for a recording.

    Ernest Cholakis
    Numerical Sound

  6. #6

    Re: GOS impulse files

    and for whatever its worth Ernest....

    this is what makes you such a mad man!

  7. #7

    Re: GOS impulse files

    I just finally got around to trying out the GOS impulse files, and now AMirror (with GOS impulses) is my favorite plugin. [img]images/icons/smile.gif[/img]
    I have a huge collection of impulses, but most all color the sound way too much. These GOS impulses are just about perfect. Way to go Gary and gang!

  8. #8

    Re: GOS impulse files

    Reading this tread I have my usual inferiority attack. Would one of you explain what impulses are, where are the GOS impulses?



  9. #9
    Join Date
    Oct 2000
    Orcas Island

    Re: GOS impulse files

    Originally posted by Ted Vanya:
    Reading this tread I have my usual inferiority attack. Would one of you explain what impulses are, where are the GOS impulses?


    <font size=\"2\" face=\"Verdana, Arial\">No need for an inferiority attack. This is cutting edge technology that is just in it\'s infancy. The GOS imulses are located in the last update package on Disc #17 in the \"Impulse Response\" folder. We are planning to include more impulses in the next update as well.

    I\'ll attempt to briefly explain what impulses are. In the past, reverbs have been added to recordings to make it sound is though a recording was made in an acoustic space such as a concert hall. The use of these reverbs became so ubiquitous in film work that Lexicon became virtually synonomus with a certain \"Hollywood\" sound. Nevertheless, these reverbs relied on artificial algorithms to approximate and simulate acoustic spaces, albeit with limited success.

    What if you could have samples of actual concert halls, just like having samples of real instruments (like GOS), and then be able to place those sampled instruments in a sampled concert hall? Imagine that you can choose Lincoln Center, or Carnegie Hall or Boston Symphony Hall, the Acropolis, or other well known spaces.

    This is what the new revolution in sampled reverbs (or impulse response) technology is all about. Impulse Responses are in effect \"samples\" of acoustic spaces. Impulse responses capture the actual acoustic signature of real spaces with amazing precision. These ambient samples can then be imposed on or convolved with the sampled sound of instruments (e.g., the GOS sampled string sounds) to produce a stunningly realistic representation of the instruments playing in, say a real concert hall.

    Here\'s a simplified process of how it works.
    If you are in a large room and clap your hands you will hear the direct sound of the clap along with the reverberence of the room you are in. The clap itself is the impulse and everything else you hear is the room\'s response to the impulse. The room\'s response to your clap would be a function of the room\'s size, the height of the ceiling, room surfaces, floor material, whether the room is empty or standing-room-only, and other sonic factors. By recording the impulse with the response, through intense computation, the impulse can effectively be factored out leaving a sample reverb (response) of the room\'s acoustics. You can then apply your sample sounds, with the room reverberation samples. The result sounds as if the original signal was produced in that particular acoustic environment (where the impulse response was recorded). With the sampled impulse response loaded in your convolving program (Altiverb, Acoustic Mirror, Samplitude, Cool Edit, Nuendo, etc); you can not only select the space you want, but control parameters such as decay times and frequencies. The result can be breathtaking.

    We are fortunate to have one of the world\'s leading experts on impulse technology who frequents the Northern Sounds forums. Ernest Cholakis has researched and written about the subject extensively and has traveled the world to capture the natural ambience of amazing places, such as the King\'s Chamber in the Great Pyramid at Giza, the ancient Pantheon in Rome, Giotto\'s Bell Tower in Florence, and the Villa of Mysteries in Pompeii, among many others. Ernest, can tell you much more about the technology.

    Hope this helps.

    Gary Garritan

  10. #10

    Re: GOS impulse files

    I would like to revise my earlier comments on mixing the ambience into a orchestral recording. I have been experimenting with very dry near anechoic recordings. In this case the wet level can be mix in at equal level or -1 to -2 db lower than the dry signal.


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