Altiverb™ can apply these impulse responses (IRs) to any audio recording, making the recording sound as if it was played back and recorded in these real places. Read more...
Impulse responses are recordings from real acoustic spaces. Longer than anyone in the industry, and with more ear for detail, Audio Ease has been traveling the world to record the acoustics of the very best sounding spaces.
The results of hundreds of these travels are included with Altiverb. Ranging from London's Wembley stadium to the ancient caves of the island of Malta and the churches, concert halls and rock studios of the cities of Paris, Amsterdam, Berlin and New York.
Scroll down to browse through the Audio Ease library of sampled acoustics for Altiverb, the IR library.
This page keeps expanding, as Audio Ease keeps on recording and adding spaces. To download the recent additions simply open the IR Browser in the Altiverb plug-in and hit the NEWS button to find out what new IR sets are available.
The most prestigious classical music concert hall in the world is captured in stereo and quadraphonic impulse responses.
The Wiener Konzerthaus (http://www.konzerthaus.at) together with the Musikverrein and the Amsterdam Concertgebouw are the three most sought after locations for symphonic recordings.
Mechanics Hall is heralded as one of the four finest concert halls in North America. Internationally regarded by performance artists for its superb acoustics, the Hall also houses a complete recording studio.
This magnificent orchestral studio is built in 1952/53 as a box in box construction, where the inner 'box' is suspended from chains from the outer box. It is extremely silent and served The purposes of both communist propaganda and recording of classic music, pop music, big band for the Broadcast of German Democratic Republic.
The Walt Disney Concert Hall at 111 South Grand Avenue in Downtown Los Angeles, California is the fourth hall of the Los Angeles Music Center. Bounded by Hope Street, Grand Avenue, 1st and 2nd Streets, it seats 2,265 people and serves (among other purposes) as the home of the Los Angeles Philharmonic Orchestra and the Los Angeles Master Chorale.
Acoustically, the Berlin Konzerthaus's large hall is considered to be amongst the five best concert venues in the world for music and/or opera. The original building stems from 1817. Severely damaged by Allied bombing and the Battle of Berlin the building was rebuilt from 1977 onwards and reopened as the concert hall of the Berliner Sinfonie-Orchester in 1984. The exterior, including many of the sculptures of composers by Christian Friedrich Tieck and Balthasar Jacob Rathgeber, is a faithful reconstruction of Schinkel's original designs, while the interior was adapted in a Neoclassical style meeting the conditions of the altered use. The large hall is a shoebox shaped hall.
The Amaryllis Fleming concert hall of the Royal College of Music in London, UK, is a performance space of the highest international standard, which can accommodate large orchestral and choral concerts. It is of a classic 'shoebox' design, which is considered acoustically ideal.
Duke's Hall was built in 1912 and is the concert hall of the Royal Music Academy in London. Between 1989 and 1992 this hall was restored, while improving the accousic conditions.
De Doelen is the number two concert hall of The Netherlands, both in acoustic quality and in amount of visitors per year.
Famous acoustician Leo Beranek surveyed many halls in interviews with musicians, music critics and conductors. He wrote about the Doelen:
An unusual aspect of De Doelen is the use of marble throughout the hall.
There are no echoes in this room. The acoustics of the Doelen have been praised by visiting conductors and musicians because the sound on stage and the inner hall is excellent.
The Manhattan Center on West 34th Street houses the spectacular Grand Ballroom. Conveniently connected to two in-house recording studios. This has been the place where orchestral film scores for Noah, Walter Mitty, and True Grit were recorded.
Utrecht the Netherlands based popular CD recording venue for Baroque orchestras. The eight sided arena features lots of wood combined with concrete details. Stereo and quadraphonic impulse responses are available, recorded with both omnidirectional and directional microphones.
Here you will find no segregation of ‘producers’ and ‘consumers’, but rather a community of listeners grouped around an orchestra in the most natural of seating arrangements.”
(text (c) Bridget Shield, Trevor Cox 1999/2000)
St Davids Hall retains its position as one of the premier Concert Halls in the world. The definitive study of the world Concert Halls by Beranek, placed St Davids Hall in the top ten of Concert Halls Worldwide. Renowned for its natural acoustic and the intimacy of the Auditorium, the building will continue to play a major role in the cultural activities of the citizens of Cardiff and the Principality of Wales beyond the Millennium.
This is one of the largest classical music venues in Europe. It seats 2500 and its celebrated acoustics were designed by Karlheinz Mueller. Even without government subsidies, the Festspielhaus has become a regular stop for all the classical music superstars, and has grown to be one of the foremost classical music hotspots in central Europe.
The concert hall of the The Congress Center in Zlín, Czech Republic is one of the very few oval shaped concert halls in the Altiverb library of acoustics. It was recorded by Sonokinetic, in close collaboration with Audio Ease.
Sonokinetic recorded many of their orchestral and choral sample libraries in this very hall.
Sweden's main concert hall.
The 1300 seat Berwald Concert Hall, with the Swedish Radio Symphony Orchestra and the Swedish Radio Choir, is one of the most important cultural institutions in the country, reaching far beyond the borders of Sweden.
The hall's acoustics are among the most beautiful of Europe, in part designed by renowned ARTEC from New York, the company that was responsible for excellent sounding Birmingham Opera and Auditorium de Lucerne.
The concert hall of Barcelona’s Palau de la Música Catalana is a magical space, conceived and designed as an enormous glass box crowned with a large central skylight. The unorthodox application of surface materials, for instance the tiled floor, sets this hall apart acoustically from other concert halls.
Situated on the Zand, the largest square in Bruges, the Concertgebouw's stunning structure complements the surrounding architecture, lending a spacious element to the city's landscape. The world-class Concertgebouw is a triumph of creativity, form and functionality, offering two superb auditoria.
A new music building was built on the banks on the river IJ in Amsterdam and was inaugurated by Queen Beatrix of the Netherlands on 15 June 2005.
Read more here..
The hall at Hardenbergstrasse has been the home of the Berliner Philharmoniker (under Von Karajan) in the 1960's. Now home of the symphonic Orchestra of the Universitaet Der Kuenste of Berlin, this futuristic looking hall is a fine example of 1950's architecture in Berlin.
Home of the Stockholm Philharmonic Orchestra, this is the principal place to hear classical music in Sweden. The Nobel Prizes are awarded here. Constructed in 1920, the hall seats 1,600 and is best suited to major orchestras. Besides local orchestras, the hall features visiting ensembles, such as the Chicago Symphony Orchestra.
The Original Vredenburg Concert Hall is being rebuilt until the year 2012. In the mean time symphonic concerts in Utrecht the Netherlands are held in this completely new Vredenburg Leidsche Rijn hall, also known as the Red Box. The large hall sounds open, warm and balanced, and surprisingly loud for its size and appearance.
King's College Chapel is the chapel to King's College of the University of Cambridge, and it is considered one of the finest examples of late Perpendicular Gothic English architecture. The chapel derives much of its fame from the Festival of Nine Lessons and Carols read more...
Partly built starting in 1145, the dark Chartres Cathedral marks the high point of French Gothic, all in remarkable condition.
In about 1050, William the Conqueror founded the Abbaye-aux-Hommes. The Eglise Saint-Etienne is a beautiful structure done in the Norman Romanesque style, and both were constructed of ‘Caen stone’, a light creamy-yellow Jurassic limestone. This stone was also a popular building material with the Normans in England.
Constructed from 1318 to mid XVIth century this is one of the most beautiful Gothic monuments in France. XVIIIth century choir gates. Superb organs renovated by Cavaillé-Coll during the XIXth century.
The construction of Saint-Alain, in the south of France, goes back to 1255. Its single naves width measures 13.8 meter, and its overall length is 73 meter. The cathedral is widely known for its famous organs, and many commercial recordings.
Selimiye mosque, (1575) was built by the most important of Ottoman architects, Mimar Sinan, who designed several hundreds of buildings during the one hundred years he lived. According to Sinan himself Selimiye mosque is his absolute Masterpiece. This can therefore be considered to be one of the highest achievements of Islamic architecture.
Concert PA and Genelec samples of the large Wembley stadium in London.
On Januari 11, 1932 building of the Antwerp Sports Palace started. 88.7 m wide, 132 m long and with a roof totalling 11.600 square meters, without any support pillars. It is the premiere venue of choice in Belgium for large European touring acts.
The Arena is used for concerts and for large scale TV productions such as "Wetten Das". It is the home of ice hockey team Hannover Scorpions, and seats 10767 fans during a play, and 14000 during a concert. The ice hockey world championships 2001 were held at The TUI Arena.
Peter Brandt recorded this room with a number of flying microphone systems ranging from wide setups to narrow to shotgun. Lanxess arena is an indoor arena, in Cologne, North Rhine-Westphalia, Germany. The arena opened in 1998 and can accommodate 20,000 people, and is in frequent use for concerts.
The Gelredome is the home stadium of Vitesse in Arnhem. It was built in 1998, featuring a retractable roof as well as a convertible pitch that can be retracted when unused during concerts or other events held at the stadium although its capacity was rather modest with only 29,600 spectators at most.
The Festhalle in frankfurt Germany is a much copied key example of the architectural Historismus. It opened in may 1909 and is used for concerts, sports and tradeshows.
The Semperoper in Dresden is one of Europe's most elegant opera houses according to Leo Beranek. Beranek even states that the acoustical quality of the Semperoper is next to that of the highest, the Opera Colon (Buenos Aires) and equal to that of La Scala (Milan).
This Opera theatre opened in 1840, and was restored in 2007.
The hall seats 1008. Together with the Antwerp Opera this is a theatre of the Flemish Opera. It shares a rare quality with some other large theaters: you hear a big room with a short reverb tail.
The Royal National Theatre, London, England, is generally known as the National Theatre and commonly as The National. Founded in 1963, it is one of the United Kingdom's two most prominent publicly funded theatre companies, alongside the Royal Shakespeare Company.
The old opera was demolished in 1892 to give way to the construction of a new Opera by Axel Johan Anderberg. It is a majestic neo-classical building with a magnificent gold foyer and elegant marble grand staircase leading to a three-tiered auditorium somewhat smaller than the old theatre. It presently seats 1,200
This Opera theatre opened in 1907, and was restored in 2007.
The hall seats 1081. For an Opera theater, the reverb time is exceptionally long and therefore the applications for this impulse response include symphonic material.
Le Théâtre du Capitole is one of the most famous operas of France. Operas, ballets, operettas, recitals, chamber music, it's an eclectic place of creativity. With four centuries of history, it is today one of the large international scenes of many art forms.
Built in 1731 by Grand Master Antonio Manoel de Vihea as a public theatre. In 1950 started a 10 year restoration, and the theatre has been in operation again since 1960.
This majestic building was formerly a market hall for the grain market. In 1974, the place acquires a new use: it becomes the official residence of the Orchestra of Capitole, thanks to the acoustic quality of the building it hosts a broad array of performances: orchestral pieces, operas, ballets, and, occasionally, variety shows.
Södra Teatern is a theatre in Stockholm, Sweden. Located in the popular "Söder"-district (Södermalm - the south Stockholm district), it's one of Stockholms most appreciated private theatres. Established in 1851, it's Stockholm's oldest private theatre.
St James Cavelier, Centre for Creativity first opened its doors to the public on the 22nd of September 2000. As the Maltese Government's Millennium Project it has taken on the role of pushing forward Malta's cultural aspirations.
The College Chapel forms part of the King's building at Strand, London. It was originally designed by Sir Robert Smirke in 1831. It is an intimate sounding medium to large wooden space.
The location is stunning for music, a wooden interior of ideal proportions with a somewhat muffled but very open and spacious ambiance. A dead-silent location in the very heart of Amsterdam this delightful church from 1639 has seen many recording sessions so far, and from the sound of it, it has not seen the last yet.
Margaretakyrkan is the Swedish church located in Oslo, Norway. It is a stone church located in the centre of the city and played an important role during the 2nd world war serving the "Swedish Soup" to over 7000 people a day. The Margaretakyrkan is well known for its great acoustics. It was built in year 1922.
It is widely believed that this is 'Icanhoh', where St Botolph built his minster, making the remote place of Iken one of the earliest centres of christian activity in east anglian. Marvel at your sounds bouncing off of craftsmanship spanning over a thousand years.
This iconic Islandic church is the tallest building in Reykjavik, making it a true landmark. The modern church features a surprisingly natural, clean reverb tail that is longer than one would expect at first.
This is a typical timber church for the region Bergslagen in Sweden. Built in 1680 and restored in 1953 this beautiful cross shaped wooden church is a valuable addition to the Altiverb Ir library.
For Altiverb XL Surround this IR set includes speaker positions on the rear of the system.
With its length of 43 meters, this medium sized neo-gothical catholic church features very smooth reverb tails. The church is used for choir and organ concerts. Stereo and quadraphonic impulse responses are available, recorded with both omnidirectional and directional microphones.
A popular recording venue for small ensembles, de Zuidervermaning church from 1731 is a wooden construction with white sand on the floor.
There's no church in the collection that sounds anywhere near Coddenham's Saint Mary's. This small stone church adds a short clean reverb that sits somewhere in between a large recording studio and an echo chamber: a room (tone) you do not expect to find under churches/religious buildings in Altiverb.
The dome chapel in Renswoude the Netherlands has a symmetrical floor plan that measures 18 m X 18 m. This, combined with the relatively high dome, creates one of the finest acoustics available for small ensembles. Stereo and quadraphonic impulse responses are available.
This pretty chapel, with its entrance to a narrow and busy southern French street, is known in Toulouse for its regular music recitals. It is narrow and high and features a wooden floor, which is carpeted at the round end.
Possibly the smallest church in the Altiverb IR Library to date: Gol Stave Church at Norsk Folkemuseum - the Norwegian Museum of Cultural History. The Open-Air Museum features 155 authentic buildings from different national regions, i.e. Gol Stave Chuch, from the 13th century. Gol Stave is one of the few stave churches left in Norway.
This small, partly carpeted chapel, features heavy stone walls and plastered dome shaped ceilings. A good build-up in the low end, and a smooth tail starting short after the direct sound.
With a 14 by 6 meter floor plan this is one of the smallest chapels you'll find. The acoustics are remarkably bright and ideal for acoustic guitar. Mono to stereo, stereo to stereo, mono to quad and stereo to quad impulse responses.
Uranienborg Kirke is located at Frogner in Oslo. It was built in 1886 and is well known for its warm acoustics. The church has for many years been a popular place for concerts.
The remainder of the church was rebuilt in the 18th century and restored in the 20th century. It has a magnificent Renaissance main front and is often used for concerts and other cultural events.
De Haar's separate long and narrow chapel has wooden ceilings and hard stone flooring. The sound is very open and clean and the reverb tail is pretty long for the size of the church.
The Castle of de Haar (http://www.kasteeldehaar.nl) is the largest and most luxurious of Netherlands many castles. The central Main Hall features a large, high damping carpet and lots of ornaments. A beautiful complex, open and asymmetric reverb.
The Wigmore Hall is a leading international recital venue that specialises in performances of chamber music and song. It is at 36 Wigmore Street, London, UK, and was built to provide the city with a venue that was impressive yet intimate enough for recitals of chamber music. With near-perfect acoustics, the hall quickly became celebrated across Europe and featured many of the great artistes of the 20th century.
Among recording engineers the modern Philips Hall is known as the finest small auditorium available in the Netherlands. Impulse Responses were recorded with a variety of microphones and microphone setups, including quadraphonic configurations.
Over the past 6 decades the major classical labels have turned to this hall as a recording venue many hundreds of times.
Read on here about this spectacular sounding hall...
This particular room has often been credited as the best chamber music recording venue in the world. It is a top favourite with leading ensembles and soloists - as well as a popular venue for recordings. The perfect setting for all types of chamber music, an ideal size in which to experience the intimacy of chamber music and recital performances.
The original building stems from 1817. Severely damaged by Allied bombing and the Battle of Berlin the building was rebuilt from 1977 onwards and reopened in 1984. The exterior, including many of the sculptures of composers by Christian Friedrich Tieck and Balthasar Jacob Rathgeber, is a faithful reconstruction of Schinkel's original designs, while the interior was adapted in a Neoclassical style meeting the conditions of the altered use. The small hall is a shoebox shaped hall. These impulse responses were recorded in March 2014, using DPA 4006 Microphones and a Genelec 1037 speaker.
A beautiful intimate brick and plaster chamber music hall in the heart of one of the buildings of the Universitaet Der Kuenste of Berlin, Germany. The room is flooded with daylight in its most wet setting, and becomes significantly dryer when the curtains are lowered.
This is a high concert hall for its size. Long, narrow and high. It is a shoe box, which acoustically is the perfect shape for a hall. It is built in the beginning of the 20th century, made of stone, plaster and pinewood it adds warmth and brightness in a pretty balance.
The interior features an optimum of reflective surfaces to allow for a small gap between direct and early reflections at any listening position. It causes a desirable combination of intimacy and sufficient reverb length in mid frequencies.
King's Place Hall One, the main concert hall, is a separate structure within the building, it is a box that sits on rubber springs to give it complete acoustic separation from the rest of the building. It is built to a regular geometry, a double cube, that is considered most successful for small concert halls. Read more...Structural columns around the hall are set away from the walls to allow curtains to be drawn between the columns and the walls to modify the acoustics. Wet and dry settings are included in this impulse responses set.
What is immediately obvious about Hall One at King's Place, however, is that the acoustic is warm, clear and absolutely merciless. Classical music sounds terrific in here, with every note, texture and colour perfectly audible over an extreme dynamic range.
Hall two is a large and versatile room connected to the recording facilities of King's place. The recording engineer of these impulse responses was immediately reminded of the voluminous yet contained acoustics of the major hollywood scoring stages.
The Lully Hall of 1840 is a performance room in the Opera building of Ghent in Belgium. Due to hard flooring and many plaster details the reverb is rich and long.
The castle, which is located about 28 km west of Vilnius, was founded during the 13th Century. The chapel is not big for a castle chapel (it is only bout 3 meters high) but all the hard bricks from the floor to ceiling make it an interesting and useful room.
Het Beaufort Huis is a former Gothic church built in 1861 and is located in the forests of Austerlitz in The Netherlands. The ‘church room’ has been rebuilt in order to function as a small theatre and because of its nice acoustics and unique location this venue is very popular.
The Empire Hall samples are of exceptional acoustic quality, and among the engineers favourite of the complete set. They are intimate, reverberant in a smooth manner, and reveal little resonances in the low frequencies.
Grünewaldsalen, restored in 1994, is a stunningly beautiful chamber music hall recognized in many recordings. It was named after its decorator Isaac Grünewald (1888-1946) who was an artist tought by Matisse, and a sought after stage designer in the 1920's. THe has 460 seats.
The Haydn Hall, with its very distinct slap-backs, offers very diverse sounds at the different microphone positions. The stereo image is quite 'open' possibly due to the presence of strong lateral reflections. For 17th century sized orchestras, Haydn saal is considered the ideal hall.
It's hard to imagine a recording environment more physically beautiful than Allaire. The place is the epitome of the residential studio, in that it offers the best of all worlds technologically and acoustically: a huge Neve tracking/mixing room (the Neve Room) and an even bigger SSL studio (the Great Hall).
Hansa Tonstudio is a recording studio located in Berlin and it ranks among the most wanted studios in europe. The spacious Meistersaal and the tight sounding live room have witnessed many legendary recordings throughout the decades by a.o. David Bowie, Depeche mode, Iggy Pop and U2.
Cello Studios, at 6000 sunset Blvd. in Los Angeles, is fortunate to have what many people consider to be some of the best sounding large live rooms ever built. Live Room 1 is the large bright room.
Cello Studios, at 6000 sunset Blvd. in Los Angeles, is fortunate to have what many people consider to be some of the best sounding large live rooms ever built. Live Room 2 is the tight and mellow room.
Echo chambers 2 4 and 5 at Cello Studios (LA, USA) are legendary ‘artificial’ reverberators built by Bill Putnam. They were used extensively on Beach Boys and Sinatra recordings.
Sound Kitchen, the Southeast's most prestigious recording and production facility, had two recording spaces to offer to Altiverb's library of acoustics.
Big boy and Studio A are both included.
The Utility Muffin Research Kitchen is the name of the recording studio that Frank Zappa built and used extensively at his home for many of his recordings. The studio was completed on September 1, 1979 and the recording of several songs that were eventually released on the album You Are What You Is began in July, 1980...(more)
This is one of those rare places that has produced records in everyone's collection. Samples were made of the spacious, open sounding live room, known from the Live Aid video. And also from studio 2 and 3, read more here...
The church has been a professional recording studio since the 1980s, under ownership of the Eurythmics. read more... As The Eurythmics' fame and fortune grew to huge heights over the remainder of the 1980s and beyond, they purchased the building from Bura and Hardwick and set about building on its legacy. Much of the band's own catalogue was recorded here, as was Dave Stewart's many other projects. But The Church also went on to welcome anyone from Bob Dylan to Radiohead, Elvis Costello to Depeche Mode. Leading UK Producer Paul Epworth, alongside the renowned Walters-Storyk Design Group and Miloco Builds, set about transforming The Church into a world class recording complex fit for the 21st Century. The impulse responses are made while a large sesison was set up, and several curtains were drawn, so the room sounds both large and intimate.
Producer Bob Clearmountain (Springsteen, Rolling Stones, Brian Adams, Robbie Williams, Toto, Bon Jovi and 235 others) shares his purpose built echo chamber with Altiverb customers. These echo chambers are heard on basically everything Clearmountain mixed since 1994
SARM studios Hook End facility west of London competes with Allaire studios (upstate New York) as the absolute ultimate of residential studios. These samples were made in the spacious but acoustically contained live room, the wonderful brick drum iso booth, and a smaller iso booth that is more damped.
One of the reasons for bands to drive the 30 miles out of Nashville must certainly be the extraordinary drum sound produced by the stone wall and high ceilings of the drum room in the Cabin, one of Dark Horse's many recording rooms.
Among the top of Nashville recording studios is well know name Omnisound. I went there to record their most precious main tracking room one busy sunday to record this set of impulse responses with George Massenburg's Genelec 1032 and our trusted DPA 4006's mounted on the spider.
For over 30 years Westlake Audio (http://westlakeaudio.com/Studios/studios.html), at 7265 Santa Monica Blvd., Los Angeles, has been the home of top artists. Studio D is Westlake Audio's signature studio. It features an expansive control room, a lounge and a 1120 square feet tracking room.
Clubhouse is a Word class residential recording facility in a beautiful tranquil region. Apart from the relaxed atmosphere at clubhouse, emphasis lies on the 31 by 29 feet central tracking room. It sounds spacious and lively, and was recorded for this session with minimal damping, resulting in an open, wooden drum sound.
Edison recording, right in the heart of Manhattan is a spacious room that has quite a contained, flat, and evenly distributed room sound. The room has a rich history, but has closed its door as a commercial studio. Right now it is a studio for the private use of the owners amongst which is Lenny Kravitz.
This is the famous room of Ferber, designed by René Ameline in 1973.
Over the last 40 years close to all famous French artists and also international (like recently Franz Ferdinand, Jamiroquai, Muse, Feist) came here to record and mix.
Studio A is one of the largest tracking rooms we have come across in Europe. A massive area with superb accoustics, four isolation booths and a gallery. The history of tis place is staggering. Studio C is the facilities echo chamber.
JET Studio is located in Brussels, right in the heart of Europe. Founded by DECCA RECORDS in 1942, it is the oldest studio in Belgium and one of the oldest studios in Europe. This set contains not only the live room and two iso booths but also the echo chamber and lobby (also used for adding more ambient to recordings).
Fattoria Musica Recording Studios is a residential recording studio facility in Osnabruck, Germany. It is located on a beautiful old farm and is considered to be one of the leading facilities for music production in Germany and beyond.
One of the most prestigious live rooms in the region of Northwest Europe.
Sound On sound Recording, on Manhattans 45th Street, Houses the popular multipurpose larger tracking room Studio A, which caters to top clients ranging from 50 cent to Eric Clapton. The medium to lively sounding 30 by 26 feet studio is supplemented by several iso booths.
Until 1990, the chapel of this national monument was still used as a place of worship. In 1991, the Technical University of Eindhoven carried out an acoustic concept, transforming there premises into a recording studio. It was the birth of Chapel Studio.
The Garden Hall has a smooth early reflection pattern, and for the size of the room it has an unusual long reverb tail, which is also quite bright and dense.
We stayed the night in the country house of (Emmy nominated sound designer) Coll Anderson. The living room sounded pretty nice he told me. He actually recorded a band in there once and got good reviews for it. I agree. Coll's living makes a very nice drum room. We sampled it thoroughly for music purposes.
Famous dutch architect P.J.H. Cuypers, known for the Rijksmuseum and the Amsterdam Central Railway Station, rebuilt the Castle of De Haar at the end of the 19th century from ruins dating back to the 13th century. The intimate library is mostly built of wood and has various carpets on the floor and the wall.
The Ballroom of the Castle of de Haar is quite spacious but has many carpets on walls and floor. The reverb tail is very short for the size of the room and has a distinct high-damped quality.
The Mirror Hall has a dome shaped plastered ceiling, which avoids vertical standing waves. Apart from that half of the floor was covered with carpets.
The Utrecht Maliebaan Station, a train station from the 19th century, has completely been renovated to its original state from the year 1874. This set contains the station hall, a royal waiting room and a 1st and 2nd class wating room.
Hardly any offensive features can be heard in the acoustics of the Oratorium. The small room with plastered dome shaped ceiling combined with a thick wooden floor has a bright and long decay, without distant slap-backs normally associated with reverbs of this length. Excellent acoustics for vocals...
One of the larger study rooms. The impulse responses were shot with the shutters closed, creating and almost completely wooden surface in the entire room. Mono to stereo, stereo to stereo, mono to quad and stereo to quad impulse responses.
KAS Music's Live room A is one of the largest Live rooms on the East Coast. It can handle a 70 piece orchestra in terms of space and reverb and at the time of this IR release it is undoubtedly one of the best sounding, if not the best sounding scoring stage in Altiverb. Full and open sounding with very little high roll-off. This is where Placido Domingo and Tony Bennett go to to record their vocals. (Tony Bennett / Lady Gaga - Cheek to Cheek, Placido Domingo - Verdi: The Tenor Arias).
Recorded using 6 DPA 4006 omnis and a Genelec 1032.
The contributions of Fox Music over the last seventy years transcend the field of film and television music. ntroduced by this department are such monuments of culture as "Love is a Many Splendored Thing", "On the Good Ship Lollipop", the score from "Laura" and the "Theme from M*A*S*H". The history...more
The tracking room was constructed in the mid-1990’s under the supervision of famed studio architect Tom Hidley.
Hidley’s impressive implementation of German-built “floating floors,” literally created a building within a building and made for impeccable sound quality, drawing some of the world’s most famous artists and musicians.
For many decades the present Teldex Studio Berlin was the home of recording teams from Telefunken and later from Teldec Classics. The studio was also the venue for hundreds of legendary recordings, from classic to pop, as well as the place where revolutionary technical developments, like DMM and DVD-Audio, were accomplished.
This magnificent orchestral studio is built in 1952/53. This is the smaller of two orchestral radio studios from the former East German Broadcast. For 40 years this was the home base for two symphony orchestras, one string-dance orchestra, one Big Band and one radio choir.
The 4,500-square-foot stage was especially good for 20–65 musicians. Paramount recordist Paul Wertheimer added that he heard some composers describe the room as "warm and controllable," and that musicians liked the fact that, unlike larger scoring stages, "they could hear each other clearly so that they could play (more effectively) with each other."
The Todd-AO stage is historic and is on a short-list of such large facilities in the U.S. Original owner Republic Pictures was awarded a special Oscar in 1945 for building "an outstanding musical scoring auditorium which provides optimum recording conditions.” The Stage earned its position in the 1959 printing of the Audio Cyclopedia. More...
MCO1 is the second largest studio of the Netherlands Broadcasting Music Center and home of the Netherlands Radio Chamber Philharmonic. It is famous for its acoustic qualities and suitable for rehearsals and recordings of ensembles that may vary from a few people to a complete symphony orchestra.
MCO 3 was designed especially to accommodate the Metropole Orchestra. It has been equipped to a very high standard which ensures an optimal performance by the musicians. The Metropole Orchestra both rehearses and records here.
MCO 10 is ideal for solo or group rehearsal. This is the smallest studio of the MCO.
MCO4 is the home of the Netherlands Radio Choir. This studio has been fitted with several acoustically well-balanced panels to enable the best possible acoustics for vocal music.
This is the largest hall of the Netherlands Broadcasting Music Center and home of the Netherlands Radio Philharmonic Orchestra. The studio has a large multi-leveled stage. There's also a spacious balcony to accommodate the Netherlands Radio Choir, and even - if applicable - another choir. MCO 5 has a control room for recordings.
Trackdown Scoring Stage - Built in 2003, TSC features the latest in acoustic design resulting in one of the finest rooms available for orchestral scoring anywhere in the world.
Leading New York facility Clinton Studios on 10th Ave. Manhattan, is particularly well-known for Studio A, one of the last big rooms on the east coast. Studio A is a large soundstage-style room that can hold up to 85 musicians. It is contained yet lively, and has pleased clients such as Frank Sinatra, Steely Dan, James Taylor, REM and Celine Dion.
The Hammerstein Ballroom is one of New York City's most renowned performance venues.
This popular 2200 capacity hall in Midtown Manhattan hosted countless rock and pop concerts, award ceremonies and fashion shows.
Originally constructed in 1906 as an alternative opera house to the Metropolitan Opera.
Concerts at Tivoli have a capacity of 1000 people. It is considered one of the foremost venues for alternative live music in the Netherlands.
The concert hall was captured in surround using Audio Eases trusted DPA 4006's and Genelec 1037 studio monitor, as well as with Tivoli's own PA system for extra authenticity.
Avant garde and experimental music club Tonic ( 107 Norfolk Street, lower east Side, Manhattan) operates on a curatorial system. Each month, different musicians program Tonic's New Music, Songwriter & Klezmer series. Its performance space was captured in surround using Audio Eases trusted DPA 4006's and Tonic's own PA system for extra authenticity.
The venue is inside an old church, which has been transformed into a "temple of music". The acoustics are rather echoey, but improvements have been made over the years. On May 26-27, 1995, the Rolling Stones played two semi-acoustic concerts at the Paradiso. Keith Richards said that the Paradiso concerts were the best live shows the Stones ever did. (Wikipedia.org)
The king's chamber is a lonely, dark, and silent place. It measures 10.47 metres (34.4 ft) from east to west and 5.234 metres (17.17 ft) north to south. It has a flat roof 5.974 metres (19.60 ft) above the floor and is entirely faced with granite. The only object in it is a rectangular granite "sarcophagus". read more here....
"If you walk into the place the internal size of it is humbling, but you soon forget because you'll be taken by the acoustics as soon as you start making sound. The reverb in Gol Gumbaz is so staggering that Indian people travel for days just to hear it. It took us two years to get the proper permissions and clearing the place for a couple of hours."
Emanuel Vigeland Museum at Slemdal is one of Oslo's best kept secrets. The museum's main attraction is a dark, barrel-vaulted room, completely covered with fresco paintings. The 800 sq.m. fresco Vita depicts human life from conception till death. In the entire Altiverb IR Library this room’s size to reverb time ration is unmatched.
A variety of digital and analog hardware reverb units.
Originally promoted as the improved version of the large 140 plate reverb this plate from the early seventies is much smaller as it uses gold foil to get lush shimmery reverb sounds.
Martyn Heyne offered Audio Ease the opportunity to share his pristine sounding unit with all Altiverb users. Of course we did not hesitate and carefully sampled this unit together with Martyn. Although this plate was promoted as being true stereo, this unit does not sound any different when the input channels are switched. This is why this set features mono input stereo output IRs. Martyn uses the plate with the -24 dB low cut and even adds a bit of treble boost. Apart from Martyn's preferred settings this IR set also contains various options from no low cut to -24 dB low cut in four steps and four different damping settings.
In all examples there was no damping applied in the 240 unit. Martyn's setting is his preferred one: the -24dB Low cut on the 240 and a personal EQ setting to boost treble. The other two examples are the -24dB low cut and no low cut. All 240 audio examples are recordings of the DRY input track played through the actual 240 Gold Plate in Martyn Heyne's Studio in Berlin at the IR recording session.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the same DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same 240 setting.
A close listen will reveal that the IR in Altiverb lacks the noise the real 240 reference recording has.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan.
The 252 Digital Reverberation System is the successor to the well-known 251. In contrast with the earlier 250 and the 251 unit this 252 comes as 19" rack mounting with a remote control.
This IR set features REV-D, NONLIN, REVERB and the 250 VERB programs, all with 8 presets each. Then the REVERB and the 250 VERB programs also feature many reverb time settings from short (0.4 seconds) to long (4.5 seconds) with three different eq settings (high, low, natural). The CHORUS programs are not included.
All sampled meticulously by Aram Verwoest in the comforts of SoundStash Studios (Georg Walt) in Graz. Listen to the audio examples here to compare the actual 252 audio recordings to the Altiverb mockups to find out how well these IRs sound.
The 252 audio examples are recordings of the DRY input track played through the actual 252 digital reverberator at SoundStash Studios in Graz at the IR recording session.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same 252 setting.
A close listen will reveal that the IR in Altiverb lacks the noise the real 252 reference recording has.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan
The drums sample was kindly provided by Lance Crane.
Together with Stanley Arts, Aram went out on an adventure to capture the essence of this classic digital delay and reverberation icon from the late 1970s.
In this IR set, featuring over 300 IRs, all 16 programs (Rooms, Combs, Fatty, Cloud, Echo, Space) have been captured in three feedback settings and with three different delay time settings, with medium reverb, with long reverb and without reverb options. On top of that this IR set also features all separate delay taps of all programs. This way you can dive in deep and get really close, dialing in your own settings.
And then we also proudly include some of Stanley's personal favourite settings.
The SST-282 audio examples are recordings of the DRY input track played through the actual SST-282 Space Delay in Stanley Arts' studio at the actual IR recording session.
The ALTIVERB examples are bounced tracks from a Reaper session in which the DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same SST-282 setting. A stretch of SST-282 DA converter noise was mixed into the Altiverb mock up to make the comparison fair. For the joy of listening to a nice piece of music, both examples have the same amount of DRY input mixed to it. The guitar example is a snippet from Kiss Landing by Pierre Bensusan.
This rare vintage digital reverberator excels in short reverbs.
The IR set features Short, Medium and Long reverb time programs at different lengths, as well as the REV 250 and Non-Lin program and the original 90 factory presets.
All sampled meticulously by Aram Verwoest in the comforts of SoundStash Studios (Georg Walt) in Graz. Listen to the audio examples here to compare the actual 246 audio recordings to the Altiverb mockups to find out how well these IRs sound.
The 246 audio examples are recordings of the DRY input track played through the actual 246 digital reverberator at SoundStash Studios in Graz at the IR recording session.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same 246 setting. A stretch of 246 DA converter noise was mixed into the Altiverb mock up to make the comparison fair. This stretch of noise can be downloaded here.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan
Audio Ease proudly shares the Ecoplate II from CSF Mastering sampled by Andrés Millán and Camilo Silva F.
This Ecoplate II and her sister were originally installed in ‘El Estudio Ltda’, one of the most renowned studios in Bogotá during the decades of the 80’s and 90’s. The recording studio closed around 1998 and was abandoned until it was bought by the Colombian artist Galy Galiano who reopened and redesigned the estudio which kept operative from 2001 until 2010. During this time there was only one of the two Ecoplates II working. Once the landlord asked for the property, the studio closes and most of the gear is sold. Then, both plates were bought by Jairo Varela (leader of the Salsa Orchestra Niche), and he brought them to Cali - Colombia. After Jairo passes the way, the former vocalist of Niche, Mauro Castillo, brings them back to Bogotá for repair and tuning with Camilo Silva F, who agreed to repair them as long as he could keep one for the studio. The input and output circuits were restored and modified with high-grade opamps by Camilo.
The Ecoplate II audio examples are recordings of the DRY input track played through the actual Ecoplate II hardware reverb at the IR recording session by CSF Mastering.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input sends to an Aux track with the Altiverb 7 plug-in inserted and Altiverb 7 has loaded the IR of the same Ecoplate II setting.
The mixed guitar presets both have dry signal mixed into it for a nice real world example.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan
This legendary digital reverb from the 1980s is recorded by Aram Verwoest @ SoundStash Studio, with Georg Walt.
Georg owns several units and in the nice comforts of his modern studio we could workout how to best sample this iconic reverb.
The two echo and four default reverb programs are sampled and all low and high damping configurations at eight different reverb time lengths per program. This basically covers the entire unit and allows you to dial in any setting by choosing the right IR in Altiverb.
The DRE 2000 audio examples are recordings of the DRY input track played through the actual DRE 2000 hardware reverb at the IR recording session by Aram in SoundStash Studio.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input sends to an Aux track with the Altiverb 7 plug-in inserted and Altiverb 7 has loaded the IR of the same DRE 2000 setting.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan
This impulse responses set gives you all the reverb programs of one of the very first and yet still highly regarded digital reverbs, sampled in a very precise way. Providing the two stereo outputs (as separate stereo sets and as a combined quad out set) and almost all combinations of the three levers. This classic reverb is (still) heard on many records.
The EMT 250 audio examples are recordings of the DRY input track played through the actual EMT 250 hardware reverb at the IR recording session by Arjen in New York.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input sends to an Aux track with the Altiverb 7 plug-in inserted and Altiverb 7 has loaded the IR of the same EMT 250 setting.
The IM90 is a French Multi-effects unit with a wide range of reverb, delay and echo programs. On top of that it is multi-sampler and a real-time pitch shifter. This impulse responses set for Altiverb features all the reverb programs. The programs with musical focus also include a long variant (twice the original preset’s decay setting).
This has become a rare effects machine, which is a shame as it is extraordinary in almost everything it can do.
Released in 1993 this rock solid reverb sits in almost every live-rack for over decades now.
The IR set includes the favourite presets like Big Snare and Bamboo room.
With its 44.1 kHz sampling rate and 20bit depth this unit sounds surprisingly clean.
Even though this unit dates from 1982 it is still used a lot today, praised for its rich or natural sound. It is loved by many award winning engineers. Zach McNees sampled quite some different decay lengths for all programs and for the Stereo Room also a low diffusion set. The Hi Density Plate and Plate Reverb are both unique. And because of modern convolution techniques all samples lack the noise you typically get from this box.
The specific unit Zach McNees sampled is owned by Matthew Marinelli at Exile Recording/Coral Sound.
The SP2016 audio examples are recordings of the DRY input track played through the actual SP2016 hardware reverb at the IR recording session by Zach McNees.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input sends to an Aux track with the Altiverb 7 plug-in inserted and Altiverb 7 has loaded the IR of the same SP2016 preset.
The guitar example is a snippet from Kiss Landing by Pierre Bensusan
Audio Ease proudly shares the Grampian Spring IR from DanDan FitzGerald. This set features the original (mono) Grampian Ambiophonic Unit Type 666 and also Dan's modified stereo double set of 666's called the SoundSound Spring (SSSpring).
DanDan FitzGerald about the Grampian Ambiophonic Unit Type 666 and the SSSpring:
"Legendary UK Producer Joe Meek and guitarist Pete Townsend used the same spring tank (from the Hammond tonewheel organs) but now with BBC designed electronics. This ingenious circuitry had very high drive current capability, using an output stage commonly seen in car radios. but limited by a simple bulb in series with the drive coil. As the bulb lights, resistance increases dramatically. Limiting and Overload warning. Curiously Green. The extremely quiet recovery circuit would give modern Class A Mic Preamps a run for their money. The devices were manufactured for the BBC by Grampian Reproducers, a U.K. manufacturer of a diverse range of professional audio products. From Microphones to Vinyl Disc Cutting heads. There were different versions of the Grampian. Pete Townsend’s version strangely could run on batteries and included a balanced mic input. The strangeness or perhaps psychotropicicity continued with the naming of another version, The Grampian Ambiophonic Unit Type 666. This variation apparently was used in Local Radio Studios by the BBC as an affordable substitute for the EMT140 Plate. I first heard this device at concerts mixed by one of the earliest live sound engineers, Nicky Ryan. He mixed live and produced records for Clannad and later Enya, which continues to this day. Decent digital reverb had not appeared at that time so this was really the only affordable game in town. Another live engineer friend Mairead O’ Reilly and I both acquired 666’s. We noticed that the sound of the two used together, dual mono, causes a very wide spacious effect. So we built a copy of the Grampian, with an external PSU and a various other refinements. Let’s call it the SoundSound Spring. SSSpring for short.
This SSSpring had an external Power Supply which eliminated all hum. But like the original its outputs were strong enough to drive a loudspeaker. Quiet clean and powerful. This was widely used by us when live mixing much of the top action on the Irish music scene in the 70’s through 90’s. Courtesy of Altiverb we hope to have now shared and immortalized this sound in tribute to the inventors who came up with this wonderful ‘hit’ sound, and those designers who later included it in their own creations."
The DN780 is a digital reverb processor from 1985. Martin Dubka sampled all factory-set acoustic simulations presets (and some of the effects too). He later sold the DN780 as the IRs turned out to be spot on. This built like a tank eighties digital reverb offers more then Non-lin.
Stairway to heaven , We are the champions, Relax, Stir it Up, Slave to the Rhythm, Do They Know it's Christmas, There's quite a legacy to this studio. founded by Chris Blackwell, now owned by Trevor Horn.
This is one of those rare places that has produced records in everyone's collection. Samples were made of the spacious, open sounding live room, known from the Live Aid video. Our own set of mics were used, but also the 'gods' a set of 4 permanently fitted microphones were used. The tight and completely original studio 2 where most of Marley was recorded, the contained, modern studio 3, three functioning plate reverbs, the classic stairwell used on so many productions as an echo chamber, and Bob Marley's huge bathtub, which should be able to hold 1000 litres of water. Nobody dares to fill it up these days, in fear of it coming crashing through the ceiling of studio 1.
Jochem van Grieken writes: "An experiment with extremely long spring reverbs. For this one I suspended 100 meters of 3.5mm galvanized steel in a long hallway. Audio Ease's initial reaction was 'oh my god: Yes'. And after we heard the output of this monster we thought: 'oh my god: Yes'. Recorded with 4 DPA 4006's for clarity and 4 Piezo's for the sounds in the wire.
Analogue delay at its best. This piece of hardware combines a spring reverb and a long tape loop and gives you full control to craft anything from rockabilly slapback to strange noises. Pink Floyd, Radiohead, David Bowie, Lee "scratch" Perry, King Tubby, Sonic Youth and Portishead all tamed the RE-201 in their own way.
The spring has been sampled separately. From all 11 modes short and long samples are made with three different "Rates": Lo, Med and Hi, resulting in over 65 impulse responses.
Some RESO samples have been added also. These are self oscillating loops with a lengths up to 30 seconds.
The Space Echo is a mono reverb unit, the IR's are available in both mono and stereo (double mono) out. The IR contains a bit of the dry direct sound. It is recommended to mute the direct sound in Altiverb when you want to mix the effect. This Space Echo unit was kindly lent to Audio Ease by Manuel Cooymans, DJC Recordings.
The Ibanez (Sony) SDR 1000+ Stereo Digital Reverb is a full fx machine from the late 1980's. We have sampled only the reverb programs, as an impulse response of a chorus or auto panner does not work. This reverb unit was sampled at Studio Le Roy in Amsterdam (engineer: Aram Verwoest).
Dave Huizing sampled this one for all Altiverb users. Only the reverb presets are present as most chorus effects do not translate into proper impulse responses.
Clean machine, nice spring reverb. Captured by Aram @Studio Le Roy in Amsterdam.
Legendary, unique, vintage spring reverb captured by Aram & Arjen @TexAvril (Paris, France) for use Altiverb.
Fir Zuidema captured the spring reverb from this classic analogue synthesizer for use in Altiverb. Legendary.
Back to the ‘80’s with this hardware reverb. The REV 7 was an entry level ‘PRO’ reverb and was released in 1985.
The REV7 comes with 30 presets which cover various size halls, simulations of mechanical reverb devices, simulations of recording studio type acoustic environments, stereo delays, and a range of modulation type effects. The latest are of course not included in this IR set.
Although the REV7 has stereo Inputs and Outputs the reverberation is a mono sum of the left and right Inputs.
This is the full set of factory presets form the legendary L224 XL digital reverberator. While many of these machines worldwide are deteriorating beyond repair, and parts are hard to get, we have spend a couple of days with a model that worked just fine. All presets are sampled in mono and stereo including their pre-delay.
Theoretically some time-variant processes in the L224 prevent a faithful sample for convolution reverb, but in practice we have come extremely close.
This was one of the first gated reverb units and was released by Advanced Music Systems, Burnley, England. The RMX is a non-linear reverb. It has one of the all-time trademark reverb presets, Non Lin 2.
"The RMX16 is the Holy Grail of digital audio equipment. This The RMX16 would edge its name in music history on Phil Collins seminal recording In The Air Tonight. Collins later professed that the record could not have been made without the unit. The unit also allowed Prince to achieve the backward reverb baseline on the song, Kiss. Other high profile artists to utilize the unique sound of the RMX16 included Peter Gabriel, The Hollies, The Thompson Twins, and Culture Club." - AMS-NEVE
This amazing user submitted IR set contains five (5!) sampled pieces of Lo-Fi Sprig Reverb Gear by Joe Gore. This is what Joe has to say about this special set:
There are IRs from some of my favourite lo-fi spring reverbs. Three are from guitar amps, and two are cheap rack-mounted spring units. All IRs were made via sine sweep into the front end of the unit (i.e. not just the reverb section), and then recorded back into Pro Tools in stereo with a pair of AKG414s.
My personal fave is the Baldwin Professional, a horrid late-'60s solid-state amp with a reverb so cakey and think, it taints everything it touches. I've used this one on records by Tom Waits, PJ Harvey, the Eels, Tracy Chapman and others (Willie Nelson is, for some unaccountable reason, a longtime devotee of this awful amp).
The Magnatone 'verbs are also cakey, but much darker and warmer. (Magnatone was a small California manufacturer of the '50s and '60s. Magnatone users have included Buddy Holly, Pops Staples, and Lonnie Mack).
The silverface Fender Super Reverb is bright and splashy -- your classic guitar spring 'verb. (Contrary to conventional wisdom, I prefer the sound of this particular amp to most pre-CBS blackface Supers I've encountered).
The Tubeworks Real Tube reverb is a surprisingly rich-sounding spring box.
The Furman RV-1 tone is nasty, brutish and long.
Joe Gore - San Francisco, USA
Chapman Recording is fortunate to have 3 EMT plate reverbs. These acoustic devises were made in Germany during the late 1950's and offer the finest "Vocal" reverb available. EMT Plate 1 was originally owned by American Studios in Memphis and was used on several early Elvis recordings. Plates 2 and 3 were once owned by producer Phil Ramone while at A & R Studios in New York. These units can be heard on many of the Aretha Franklin and Simon & Garfunkel hits of the 1960's. All 3 plates reside in the downstairs "Plate Room" and are remoteable to control room B & C.
About Chapman Recording
Chapman Recording has been serving the music, advertising, film and video industry for over 30 years with high end audio services. Located downtown along historic "movie row" the 2 room facility offers a highly creative and experienced engineering staff along with superior customer service. A mix of vintage and cutting edge gear draw clients including Jewel, John Hiatt, Tech N9ne, Nappy Roots, Miramax Films, PBS, HBO and Comedy Central.
This one was originally part of thr Arts & Sciences building IR set (Utrecht Conservatory), but since that set hase been split up and scatterd all over the place, here it is on its own: a long (17 seconds) impulse response of a Bösendorfer Piano. Great for all kinds of sound design!
Wendy Carlos writes about her beloved plate:
"Welcome to the wonderful world of EMT 140st Plate Reverberation. As a gift to the industry, I'm making available gratis these samples of my near mint 140st, vintage early 1971. It was added to my studio when Rachel Elkind and I expanded it into the lower floor of her Manhattan brownstone. I'd become familiar with earlier versions in graduate school, as Vladimir Ussachevsky used one in the Columbia University Electronic Music Center, where I was a student of his. This model is the epitome of electromechanical design, with extremely low noise solid state electronics replacing earlier troublesome tube circuits."
Some of the top producers on the planet consider this the only option for vocal verb. Classic equipment, recorded by Rainer Oleak and post produced by Kai Hoffmann
This (out-of-production) classic unit cannot be captured faithfully using convolution reverb because it is not time invariant: it uses chorussing. The presets that use chorussing heavily will sound different than what you may expect. However 90 % of these samples are pretty much indistinguishable from the original preset. This set offers all reverb presets with original names.
This classic spring reverb was sampled at three decay settings. Mono in, stereo out.
Doesn't get any better than this. You need a mac G4 to emulate this sophisticated piece of analog reverb equipment. Mono to stereo (go figure).
Accompanying Erik Hawkins' Altiverb review in Mix magazine, here are the BX10 spring reverb samples made by Erik and depicted proud owner Victor Owens.
Eric Rehl submitted marvelous samples of these two classic Bring-Me-To-Your-Leader type echo toys.
Everything to help bring ADR and other studio recordings back to real life (or filmset-reality).
In the audio post category are many domestic spaces like: bedrooms, living rooms, kitchens, hallways, stairwells, halls but also complete castles and museums.
Then there are cars, trains, airplanes, helicopters, factory halls, tunnels, forests, streets, fields and acoustic marvels like gasholders and a huge steel cilinder on a pipe-laying-vessel. Scroll down to see all these wonders.
Burglary via air conditioning vents, sewer pipe escapes, talking through pipes in prison, Pokemon jumping through garbage chutes, there is definitely a need for the acoustics of tubes hoses and pipes in the movies. So we recorded 18 of them, small to very large, plastic, concrete and steel, for your post production and sound design convenience.
In search of the longest reverb in the world we landed on the edge of Kinrive Forest in Scotland, where hidden in the side of Kinrive Hill, are two bolted doorways.
The doorways lead to the bombproof fuel tanks of Inchindown, one of three secret fuel stores constructed near the main naval anchorages in Britain, in this case Invergordon naval base. The British government needed to keep stores of fuel, in case the German Navy managed to block the ports or destroy shipping convoys and stop fuel supplies reaching Britain from overseas.
As part of an 2020 Apple TV+ documentary film production (featuring Mark Ronson) about reverb, Audio Ease recorded the 9 meter wide, 237 meter long and 13.5 meter high tank, which indeed holds by far the longest reverb Audio Ease has ever come across.
The tank is constructed from concrete which sits against the hard rock of Kinrive Hill. The only access for humans is through an 18 inch pipe. We recorded inside using 6 microphone stands with DPA 4006's and the largest Genelec that would fit through the hole in the entrance pipes, the 1032 monitor.
This aircaft hangar was used by the Royal Air Force (RAF) during the Second World War, and by the United States Air Force (USAF) during the Cold War, being the primary home for the 81st Fighter Wing. The structure of this hardened hanger is a dome of solid concrete. It has an exceptionally long and deep reverb. Recorded using a genelec 1037 and 6 DPA 4006 Omnidirectional microphones.
A ferocious thunder falls down on you when you make some noise in this very impressive former German gas tank. We sampled these acoustics and you can now shout, play some drums or do whatever you like in this insane space.
The Gasometer Oberhausen is a former gas holder in Oberhausen, Germany, which has been converted into an exhibition space. It has hosted several large scale exhibitions, including two by Christo and Jeanne-Claude. The Gasometer is an industrial landmark, and an anchor point of the European Route of Industrial Heritage and the Industrial Heritage Trail. It was built in the 1920s, but largely reconstructed after World War II.
A subway tunnel under construction. No tracks are in here yet, so every angle looks identical. Very pretty, and a heavy, deep, satisfying reverb. Just run some low passed noise into it with the direct sound switched off for a nice and deep room tone.
This former gas holder in Sneek has the longest reverb time that we have found so far (2013). Being in there and counting over 10 seconds of reverb to whispers was probably the most stunning experience in our career as reverb hunters.
Peter Steinbach kindly shared the IR recordings he did in Alcatraz for all Altiverb users. Peter recorded three depths in the main cell block and some perspectives from the solitary confinement cell. He recorded using DPA 4006 omni mics and a Genelec 1031a speaker on a Deva 4 recorder.
Bob Schwenkler recorded this IR set and kindly asked us to share it with you.
This cooling tower from the Satsop Nuclear Power plant is recorded with a Schoeps CMC64 microphone pair in a modified spaced configuration. Angled apart at about 90 degrees and spaced about 1.75 feet at a height of about 6 inches. The mic configuration was looking upward rather then sideways.
The Rotterdamsche Droogdok Maatschappij (RDM), was a shipbuilding and
repair company in Rotterdam (The Netherlands) from 1902 to 1996.
This large industrial factory hall has been recorded with 4 DPA 4006 omni
microphones and the sine sweep has been played back through a powered
Genelec 1037 monitor.
A former shipyard on the northern banks of the IJ and larger than 10 football fields, the NDSM wharf is now a center for underground culture in Amsterdam. This huge area contains the NDSM hall, a hangar-like structure 20,000 sq. meters in area and 20 meters in height, and two historic ship slipways(Hellingen) housing workshops and artists’ studios.
The NDSM wharf offers facilities for a number of artistic disciplines and small crafts. The wharf has also become a sanctuary for individual artists and craftspeople as well as for independent organizations, both established and less known, to cooperate, inspire and create.
This set has been recorded using the PA installation for sine sweep playback
and two DPA 4006 omni microphones, a metric halo mobile i/o interface on
an apple laptop.
The Gashouder (Gasometer), built in 1903, is the most characteristic building in the Westergasfabriek and leaves an unforgettable impression on all visitors. The enormous cast iron ceiling construction is breathtaking and regularly used as a backdrop for film and photo shoots.
Until the 1960’s gas produced from coles was stored in this container.
We went here in June 2010 because there was a Holland Festival concert series in this structure, that, for BluRay production, needed some audio post production with original reverb.
Setup: Genelec 1037 and 4 DPA 4006's mounted on the spider.
This is one of the two tunnels, under the Amsterdam Central Station, that will connect city transportation busses to the new underground tube station. We were lucky to get in this tunnel at this stage (the construction was not completely finished yet). The 120 meters long tunnel sounds very clear and much richer then one might expect. In fact, give it a try on some music piece, it will sound different, but it could very well suit your needs. We used the 4 DPA 4006 mics for recording and the Genelec 1037 with a microtrack2 to play back the sine sweep signals.
On the evening of june 12, Aram and Arjen departed for Schiedam harbour 561, for the Merwede built Rigid reeled pipe laying vessel “Seven Oceans”, owned by Subsea 7 of Aberdeen. A pipe laying vessel winds 45 cm diameter pipe made of 3 cm thick steel on a reel and drops it to the bottom of the ocean, typically between offshore oil rigs and the continent. This reel, the largest of its kind at date of recording, can hold 17 km of this type of pipe, and Audio Ease went to sample the core of it.
It is an acoustic marvel really, perhaps of limited use to you, the audio producer. With over 20 seconds of reverb across the widest part of the frequency range one can softly whistle or sing an arpeggiated chord and listen to the sustaining chord washing away for over 15 seconds afterwards. The sweep was played back through a Tannoy reveal speaker, and recorded using DPA miniature omni capsules (DPA 4090). Apart from the sweep recording, some IR's were added that were made by exciting the hull of the reel's core directly.
The Cistern is a 2 million gallon underground water storage tank located in Fort Worden State Park, Port Townsend WA U.S.A.. Made by the U.S. Army of concrete in 1907, it is located on top of a hill in the park. Its original purpose was fire suppression and backup water supply.
It is about 150 feet diameter and 14 feet high with 88 columns supporting the roof and a steel ladder in a small opening for access. There is no near source of AC power so all recording and lighting is by battery power. Access is difficult to obtain as the Cistern is closed by dragging a pair of very large steel tanks over the opening with a backhoe when not in use to keep vandals out and lessen liability concerns over the 14' ladder and air quality issues. Access is limited to about 3 uses per year.
Neville Pearsall says: "It is an acoustic wonder and has one of the best long reverb responses in the world with a time of more than 40 seconds. The low frequency characteristics are spectacular and very pleasing. If two people are on opposite sides and place their ears near the wall you can talk very quietly and hear each other; like the whispering gallery."
The Utrecht Maliebaan Station, a train station from the 19th century, has completely been renovated to its original state from the year 1874.
First and second class waiting rooms, a luxurous dinner hall and even toilets in 19th century style work like a time-traveling portal: taking you 2 centuries back in history.
The royal waiting room from 1892 origins from the State Railways from The Hague (The Netherlands) and have been transported to Utrecht and built in the Maliebaan train station to complete it.
Recorded using a Tannoy Reveal monitor Speaker, a Sony car radio, 4 DPA omni directional microphones and a powerbook with Digital Performer and the Metric Halo Mobile I/O audio interface.
Gozo Channel Line provides a vital "Life Line" between the islands of Malta, the mainland, and Gozo. Its modern fleet includes three state of the art ferries. This is the smallest: M.V. Ta' Pinu (delivered March 2000). Samples were made of the empty loading deck using 4 DPA 4006 mics and a DynAudio monitor to play back the sweeps.
Bij de Leij is a beautiful old fashioned stainless steel tank factory in the north of the Netherlands. The Impulse Responses were made simply by banging steel with hammers and mallets. We felt very much ’in charge’ walking around in a place like this, authorized to smash whatever we preferred.
This warehouse situated in the middle of Rotterdam, in one of the most beautiful parts of the ‘old city’.
Captured between two rivers in the old harbor. This venue has been used as warehouse and also as exposition room. The place is like a parking garage, lots of concrete & pillars and large size spaces, as big as the entire floor. We sampled a big and a smaller room on the 2nd floor of this fantastic building.
Underground flood tunnel in the city Utrecht, The Netherlands. This 120 meter (400 ft) long concrete underground tunnel in the center of the city is not accessible for public. During a transitioning phase of re-opening part of the formerly closed canals in the city we had the chance of getting into this tunnel and sampling it for your pleasure. This place is concrete all over, great for choirs, low frequency synth drones, new age pads or sound effects.