shasha said:Yep. Here is a great guide by Andrew Simon on his method.
And of course from the man himself you can check out this guide and it's got a template for Reaper.
Of course you can do what I did was and tried out the demo of IR Lab for a few days and decided that it was well worth the price.
I was unaware that there were tools available to mix and save IR's until reading this thread. I think I'll give IR Lab a trial run this coming week.
Using the guide posted posted by Andrew Simon I'm now able to mix IR's and save them as .syx IR's. I've only made one so far using three Redwirez Basketweave 4x12 G12H30 IR's. The result sounds fantastic! I'll be doing more of this.
k, see ya in about a year...
Cool. Now that you have something you like, don't forget you can share it with the Redwirez community. You can upload your mixes on your My Stuff page, then hit the "share" link to post it to the community. Or, you can just post it here and I'll do it
Ok - I worked with the DAW approach using Sonar 8 quite a bit yesterday and produced some really great sounding results. I noticed something that concerns me about the quality of the resulting .wav file. There's a tiny bit of noise after the completed filtered 'trigger' pulse (the output .wav file - newly mixed IR) where the audio should be blank. I went back and looked at how gains were staged at various points in the DAW project. The audio track containing the 'trigger.wav' audio is set to 0dB for the sends to each bus. With the output of four buses set to 0dB I have to set the output gain in each instance of the PerfectSpace convolution plugin to anywhere from +6dB to +12dB to reach a signal level of -0.1dB at the master output where the buses are summed. I'm assuming that I'm amplifying noise from somewhere as with all levels set to 0dB the blank space after the impulse on the new IR wave shows flat blank audio. I'll go back and look for an assigned audio input somewhere to see if there's a source for the noise.
Any other ideas from others using this process? This may be a non issue but I do wonder if the noise is having more than a negligible effect on the resulting impulse audio. I'm probably over-thinking this but I'm new to the IR thing altogether and I don't want to burn too much time with a bad process. Any thoughts, ideas, or advice is welcome.
Basically, you just pick a starting point. Here are some pretty good ones:
R121 - Cap 1-2"
SM57 - Cap Edge 0-1", CapEdgeOffAxis 0"
TAB57 - Cap Edge 0", CapEdgeOffAxis 0"
U87 - Cap Edge 2-3"
421 - CapEdge 0", CapOffAxis 0", Cone 3"
C414 - CapEdge 2-3"
M160 - Cap 0-2", CapEdge 0-2"
i5 - Cone 0"
RE20 - CapEdge 0"
KM84 - CapEdge 2-3"
M7 - CapEdge 1-2"
M8 - CapEdge 1"
Or, if you need one general rule for all mics then you should probably start on the CapEdge at 1".
Then dial it:
* Move the mic closer for more proximity effect and thus more low-end. This will balance out the highs you get from being closer to the cap or overwhelm them in some cases and skew the balance.
* Move the mic farther away to thin it out and hear more of the room. This works well for clean guitars & "bassy" amps.
* Move the mic towards the cap for more high end, or "definition" if it sounds too muddy
* Move the mic out towards the edge of the cone if you're getting too much high end or it sounds too harsh.
* If it sounds too bright, sometimes it'll work to leave the mic where it is and just flip it off axis. It will roll-off the highs and depending on the mic give it "grainy-er" sound.
If you make the decision to stick to one mic for your main tone, it's not as time consuming as you might think.
If you're the type of person who likes to mix, then you have the freedom to do so. If you're not, you can plug and play other folks' mixes, or just go the instant gratification route with one of the above starting points and maybe a few tweaks to dial it in and leave it at that.