A six millimeter caliber Flobert starter pistol can be used to make impulse responses. Use hearing protection when you use these and do not try to carry a starter pistol into a public space without telling everybody first. Because a starter pistol is loud the resulting signal to noise ratio is second only to the sweep method.

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.

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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.

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.

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.

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.

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.

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 studio

 London, UKThe 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.

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.

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.

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 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 Impulse Response library is now more accessible then ever because of Altiverb's new visual browser. Select impulse responses by clicking photos of rooms. Instant gapless loading, organise-by-size, and single click favorites are just a few of the possibilities. The Impulse Response Browser contains a keyword search field, single click downloading and installing of new (free) impulse responses.

Audiokinetic Inc. and Audio Ease B.V. announce a partnership where Audiokinetic will distribute award winning Altiverb Impulse Response packages for the Wwise convolution reverb plug-in. The first package will be available before the end of this year and will contain 49 impulse responses mostly oriented for the reproduction of outdoor environments. Reproducing outdoor environments is probably one of the most difficult tasks for sound designers today and this package arrives at the right moment for professionals seeking quality and realism in their games.

Altiverb 7 is the industry standard convolution reverb plug-in. It uses top quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the cpu, offers many parameters to tweak reverb, is total recall automatable, and has 64 bit support. Every month Altiverb 7 users receive new impulse responses for free.

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 Features geared towards audio for picture are: total recall (automation without snapshots), drag and drop impulse response making, making of impulse responses using portable radio or even slates (clapperboards), Altiverb's extensive channel setup flexibility and the keyword-search feature (just type 'bed room' or 'SUV').

This is one very amazing, albeit very specialized, piece of software. It will only run on a Macintosh G4 (using the Mac's Altivec co-processor) and only with Digital Performer (Although a VST and RTAS version is expected soon). Altiverb only does one thing, but it does it amazingly well. It is a sampling reverb like the Sony DRE S777 sampling reverb-the difference is that the Sony box costs $9,000, while Altiverb is $500. Sony also charges for additional reverb impulses while Altiverb gives them away for free on their web site. With all due respect to Sony and their spokesman Bruce Swieden, Altiverb is the sampling reverb for the rest of us. Even if you don't use DP, you could buy Altiverb, a G4 Cube and DP for about 1/3 of what the Sony box costs and have a dedicated sampling reverb. There's not a lot to the Altiverb interface. You can choose between high and low latency modes (forget about doing much else to speak of on the computer in low latency mode), adjust the wet/dry balance and pre-delay, and decrease the impulse sample's decay time. You can also see a JPEG photo of the room sampled and where the mics were placed. Before I go much further, a brief explantion of sampling reverb is in order. In the room you want to sample, a high quality monitor speaker is placed and two or more high quality instrumentation mics are set up. Then, an impulse response is played over the loudspeaker and recorded. The sampling reverb software then removes the impulse response leaving the "sample" of the reverb that other instruments can be played through. Obviously, this is a simplistic explanation and the geniuses at Audio Ease could explain it better, but I think you get the point. In practice, the reverb sounds real and unlike any digital reverb that I've ever heard. It's insanely natural sounding. We have some nice Lexicon reverbs (PCM-91 and PCM-60) but Altiverb is in a whole 'nother realm. In practice (unless you're using it in no latency mode and only using DP as a shell) you'll need to print Altiverb to disc and then "pre-lay" the track to compensate for latency. To help with this, the latency (in samples) is listed for each impulse response preset. Finally, you can make your own samples and it's not that hard! Without going into too much detail, we sampled our studio (The Hangar-www.tapeop.com/john) and it only took an hour or so. You can download our work from the Audio Ease website and check it out. It was eerie how much the sampled reverb sounded like our room. You could also use Altiverb to sample a hardware reverb you like (The word is that in Wendy Carlos' EMT 140 plate reverb will be on the Audio Ease site by the time this is published.) and one user sampled the PA system at a football stadium! Open piano and guitar strings are another sample I want to try when I have the time. If high quality, realistic reverb is something you're after, you owe it to yourself to check out this software. (www.audioease.com)

Altiverb 7 is the industry standard convolution reverb plug-in for Mac OS X and Windows. It features top-quality samples of real spaces to create reverb, ranging from Sydney Opera House to the cockpit of a Jumbo Jet. Altiverb 7 is efficient on the CPU, offers many parameters to tweak the reverb, is total recall automatable, and has 64-bit support. Every month Altiverb 7 users receive new impulse responses for free.

Altiverb contains many samples made through walls, doors, and floors. If you need a rejected lover to beg from behind the front door, that party-at-the-neighbors sound, or an upstairs piano practice, browse the next-door category of impulse responses.

The Yamaha SPX90 Reverb Impulse Responses for Altiverb represent a comprehensive collection of the reverb presets derived from the iconic Yamaha effects unit, offering an exceptionally close emulation to the actual Yamaha SPX90. This compilation features a total of 8 meticulously crafted reverb patches. The acquisition of these impulse responses was conducted with precise calibration, facilitated through a Focusrite digital audio interface, and recorded with the use of Harrison Mixbus 32C. be457b7860

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