Grand ballroom Manhattan Center, NY USA
Grand Ballroom, Manhattan Center, NY USA

The Altiverb library of acoustics

For over 15 years with great passion and much 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 7. And it does not stop here, as Audio Ease keeps on recording and new sets of impulse responses (IRs) are added to Altiverb 7 regularly.

This page features a list of the latest additions to the Altiverb 7 library of acoustics.
The Altiverb 7 plug-in also shows the new additions and lets you add these to your computer within two clicks.

Scroll down the check what you have been missing and of course you can also browse the entire catalogue of IRs you get with Altiverb.

Latest additions Browse entire collection Learn more about Altiverb
Grand Ballroom Manhattan Center, NY, USA

Grand Ballroom Manhattan Center, NY, USA

Released: June 2017
Recording engineers: Arjen van der Schoot

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.


Infernal Machine 90 a rare vintage multi-effect

Released: May 2017
Recording engineers: Aram Verwoest & Arjen van der Schoot

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.

Konzerthaus Berlin - large hall

Konzerthaus Berlin, large hall

Released: March 2017
Recording engineers: Arjen van der Schoot, Stefan Intemann, Carl Riehm

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.


SPX990 hardware reverb

Released: August 2016
Recording engineer: Aram Verwoest

Released in 1993 this rock solid reverb sits in almost every live-rack for over decades now.
The IR set includes the favorite presets like Big Snare and Bamboo room.
With its 44.1 kHz sampling rate and 20bit depth this unit sounds surprisingly clean.

Konzerthaus Berlin - small hall

Konzerthaus Berlin, small hall

Released: July 2016
Recording engineers: Arjen van der Schoot, Stefan Intemann, Carl Riehm

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.


SP2016 hardware reverb

Released: January 2016
Recording engineer: Zach McNees

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.

High Density Plate - decay 3.0 seconds

SP2016 Altiverb Dry bass

Room Reverb - decay 3.0 seconds

SP2016 Altiverb Dry conga

Stereo Room - decay 1.2 seconds

SP2016 Altiverb Dry guitar

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.

St Marys Church Coddenham England

Saint Mary's church Coddenham, England

Released: November 2015
Recording engineers: Peter Bakker and Michel Grens

This church is a nice addition to the Altiverb library of acoustics as there's no church in the collections 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. Two locations were recorded, the front pew and far (in the back) of the church. A Genelec 1032 studio monitor was used to playback the sine sweeps that were recorded using DPA 4006 omni directional microphones.

Grampian spring reverb

Grampian spring reverb by Dan FitzGerald

Released: September 2015
Engineers: Dan FitzGerald and Audio Ease

Audio Ease proudly shares the Grampian Spring IR from Dan 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).

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."

El Palau de la Musica Catalana

El Palau de la Música Catalana
Barcelona, Spain

Released: August 2015
Engineers: Arjen van der Schoot & CSS Audiovisual Staff

The concert hall of Barcelona’s El Palau de la Música Catalana is a magical space, conceived and designed as an enormous glass box crowned with a large central skylight.

Palau de musica BarcelonaListed as a UNESCO World Heritage Site since 1997, the Palau de la Música Catalana (Palace of Catalan Music) was built between 1905 and 1908. The modernist hall of the Palau, which seats about 2,200 people, is the only auditorium in Europe that is illuminated during daylight hours entirely by natural light. The walls on two sides consist primarily of stained-glass panes set in magnificent arches, and overhead is an enormous skylight of stained glass..

The unorthodox application of surface materials, for instance the tiled floor, sets this hall apart acoustically from other concert halls in the Altiverb acoustics library.


Harpa Eldborg concert hall Reykjavik, Iceland

Released: July 2015
Engineers: Aram Verwoest, Teitur Sigurosson and Robert from Harpa

Designed in corporation with the Icelandic-Danish artist Olafur Eliasson, this concert hall in Reykjavik provides Iceland with a top class concert hall. The medium sized hall offers around 1600 seats

The wet variant samples were made with the echo chambers open and the ceiling raised all the way up.

"...a clarity of acoustic that has reportedly moved some performers to tears of joy."

Rowan Moore TheObserver, 2011

This IR set was recorded using a Genelec 1037 monitor speaker and six DPA 4006 omni directional microphones.

Mix This! Clearmountains echo chamber

Mix This! Clearmountains echo chamber

Released: May 2015
Engineers: Bob Clearmountain, Brandon Duncan

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.

The previous owners of the house had created a wine cellar out of a windowless area of the basement that was approximately 5' 6" x 16' x 8' high. Because reverb gives Bob less of a headache than wine, it was turned into two identically sized acoustic echo chambers by adding an additional layer of interior walls and ceiling, (it's directly under the kitchen) and dividing it in half with a diagonal wall containing a small door. Each chamber contains a Mackie HR824 self-powered studio monitor and an AKG C 460 B microphone. It's normalled off the SSL custom "stereo cue 5" which is part of the "Bluestone" mod that converts the quad front-back pan to an aux/cue send that is post the L-R panpot. This configuration provides a localized, paned reverb effect. The discreteness of the effect is altered by opening and closing the doors between the chambers. The sound of the chambers is fairly short and bright, somewhat similar to the 60's Motown reverb sound.

The sample we present to you here is the way Bob uses the room himself: with some low frequencies rolled off and the door opened in a way he likes.

These echo chambers are heard on basically everything Clearmountain mixed since 1994, including hit records as Robbie Williams' Intensive Care, Bon Jovi's These Days and Amy Macdonald's This Is the Life.