Reverb tutorial: http://mixingverb.com
Frequency ear training: http://quiztones.com
The Pro Audio Files: http://theproaudiofiles.com
The eighth video in the analyzing effects series from Eric Tarr and the second one on impulse responses.
Hey, guys. This is Eric Tarr for theproaudiofiles.com.
This is my second video in a two part series where I’m demonstrating how you can measure the processing that takes place within some of your audio effects plug-ins by using an impulse response.
In my first video, I took you through the basic steps that you can follow, where you start out with an impulse response sound file, send it through one of your audio effects, and print the output. After you print the output to a new sound file, you can load that new sound file into a convolution plug-in. Now, that convolution plug-in represents the processing that takes place in your original audio effect.
I also talked about in that video, that this kind of technique works well for some kinds of audio effects, but it doesn’t work well for other kinds of audio effects. If you need to get up to speed, make sure to check out that video too.
In this video, then, what I want to do is expand upon that idea and use an impulse response, not just to measure the processing within one audio effect, but actually, to use it to create custom audio effects that I can use in a convolution engine that are not just based on one plug-in, but actually, a combination of many plug-ins.
The thing to know is, as long as I’m using plug-ins that fall in this category that work well with an impulse response – things like equalization and filtering, echo and delay, some kinds of reverb – as long as I just stick with those kinds of plug-ins, I can combine these effects in all different ways. In series, in parallel, and then take an impulse response of the combination of these effects, the entire system, capture one impulse response, load that entire impulse response into a convolution engine, and now, I’ve essentially created my own, unique kind of effect, where it’s pretty much up to your imagination to come up with your own ideas.
So let me show you what I’ve got here in this session. Just like before, I’m starting out with an input sound file. It’s an impulse. The entire sound file has an amplitude of zero, except for one sample here at the beginning.
What I was doing before, if I switch over to my mix window, is I had sent this impulse through some of these effects. Delay, reverb, equalization, that kind of thing. What I’ve done now is I’ve made those plugins inactive. Then, what I’m going to do is actually buss this signal from the input on here on Buss 2, over to a bunch of different auxiliary tracks.
So, essentially, these are going to be running in parallel with each other. So I’ve got a handful of these auxiliary tracks running in parallel. Then, what I’ve done is I’ve gone in on each one of these tracks, and inserted different effects. So, I’ve got some delays, I’ve got some equalization.
So, now what I can do is send that signal down each one of these auxiliary channels and capture the impulse response of all of these things working together.
So to take you through what I’ve got, and then I’ll print it, you’ll be able to visualize it, what I’m going to do is take this input signal – I’ve essentially got it running over time, where I’m going to have different delays. I’ve kind of got it organized, so hopefully it will be easy to understand.
I start out right off the bat, and I’ve got just an eighth note delay. So that’s all that’s happening here with this individual Mod Delay here. I’m going to take that delay and I’m also going to send it through a low pass filter that has some resonance right here.
So I have it setup kind of based on sixteenth notes in the measure, so that, you know, if I have an eighth note, it’s going to be the third sixteenth note in the measure. Then, on my next auxiliary track, I have a dotted eighth note, or essentially, the fourth sixteenth note that would occur in an entire measure.
So nothing else going on here except a digital delay within this particular plug-in. Then, I also send this through another kind of low pass filter with resonance. So I’m doing spectral processing and delay on each one of these channels.