I‘d say volterra kernels are rather a multidimensional convolution. Main benefit is that it can do nonlinear. Kemper amp seems to use it as well. I think. It is easier to grasp when coming from a parametric model. Google has stuff on this, but you need to really want to chew through the math (which is quite convoluted).boji said:
Convolution IR's and emulations...
- Thread starter iomegaman
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..yup, it's apparantly a way of interpolating multiple convolutions. Mind you, the interpolation estimates are still normalized guesswork, not originating in the real world - i.e. like making a movie by interpolating between fixed images.. So still reducing complexity of real world.
Jakob E.
Jakob E.
As the High Priest of Tetrahedral soundfield mikes, I've said a couple of times I'd like to have a go at emulating 'classic' C12, U47 or U67.
A Tetrahedral soundfield allows you to emulate the 3D response of a microphone.
I would do it with a TetraMic or a Sennheiser Ambeo you supply and you'll need the TetraMic software. I'd also need to borrow your vintage C12, U47 or U67 for an extended period cos I'm a real beach bum
For me impulse responses are like photos of a movie. As with everything, i think there are good IR captures and bad ones. The bad ones are the lifeless ones that Gyraf mentionned..
I've done a lot of impulse responses in order to share the sound of cool/exotic hardware pieces with the rest of the world (most of them are for free): Flo Audio
To get a good capture you need to find the right gain staging for the machine, and then you've got to listen to the capture and discriminate. It's not a set and forget approach, and it's not only about 'leaving some headroom', sometimes you have to really hunt for it if you want a more musical IR lol!
It will never replace the real thing, apart from reverbs, and eqs curves.. But it's a great way to share a little bit of the sonic imprint a piece of gear has, or even to have it at your disposal in the computer when you're not working from home!
And beyond capturing gear, i think it's a very interesting way to create new sounds, for example: i recorded the steam coming out of a thermos, ran it into a recording of the body of a flute, recorded the result, and there i had a new instrument lol I've been working mainly for tv/movies music over the last 10 years, it's not the final answer, but it works !
I've done a lot of impulse responses in order to share the sound of cool/exotic hardware pieces with the rest of the world (most of them are for free): Flo Audio
To get a good capture you need to find the right gain staging for the machine, and then you've got to listen to the capture and discriminate
. It's not a set and forget approach, and it's not only about 'leaving some headroom', sometimes you have to really hunt for it if you want a more musical IR lol!It will never replace the real thing, apart from reverbs, and eqs curves.. But it's a great way to share a little bit of the sonic imprint a piece of gear has, or even to have it at your disposal in the computer when you're not working from home!
And beyond capturing gear, i think it's a very interesting way to create new sounds, for example: i recorded the steam coming out of a thermos, ran it into a recording of the body of a flute, recorded the result, and there i had a new instrument lol
I've been working mainly for tv/movies music over the last 10 years, it's not the final answer, but it works !
It just sucks when a guy with a big studio full of a wet dream selection of equiptment struggles to make the hit a little guy with a laptop can! Maybe he was too busy worrying about the esoteric BS, that ooold folks obsess over!
