Anderton Synthetic Impulse Responses for REmatrix Solo Convolution Reverb (Platinum only)

Figure 67. Anderton Synthetic Impulse Responses.

The Anderton Synthetic impulse responses (IRs) include 72 new convolution impulses that didn't come from the real world, but were synthesized with a combination of pink noise, DSP, and automation. Choose from 36 “idealized” reverb impulses, and 36 reverse reverb impulses.

Unlike the NYC Showroom IRs (see NYC Showroom Impulse Responses for REmatrix Solo Convolution Reverb (Platinum only)), which produce highly realistic and musically useful room sounds, the Anderton Synthetic IRs produce otherworldly and “perfect” spaces.

The IRs in this collection are based on pink noise to give frequency shaping that's more like a real acoustic space, with additional automated lowpass filtering on some impulses to give damping. The left and right channels have different pink noise signals to avoid correlation. This approach works really well with reverse reverb. Reversing room IRs does indeed sound “backward”, but there is usually a certain graininess—the same qualities that make the IRs sound like a real room keep the backwards reverb from being a smooth stream of sound. For sound design, the long reverse reverb IRs in this collection are especially useful.

For information about importing custom IRs into REmatrix Solo, see To import your own IR files.

About the IR names

The IRs use the following naming conventions:

Number. The number is the approximate duration in milliseconds.

R. Names that start with an R are reverse (backwards) reverb impulses.

Fast Damped. The decay or attack follows a deep logarithmic curve that rolls off highs at lower amplitudes. This gives the most realistic “standard” reverb sound. With reverse Fast Damped reverb, there's more apparent delay before the reverb kicks in because it takes longer for the level and brightness to ramp up.

Slow Damped. The decay or attack follows a shallow logarithmic curve that rolls off highs at lower amplitudes. With standard reverb, the tail stays louder longer, but the damping gives an “acoustic space” feel. With reverse reverb, the sound takes longer to kick in than the Slow version, but more rapidly than the Fast or Fast Damped versions. As with Fast Damped, with reverse impulses it takes a while for the brightness to kick in.

Fast. This is like Fast Damped but without damping. With standard reverb, this curve follows a typical room decay but the highs stay constant during the decay, providing a bright sound. With reverse reverb, this option takes longer than the slow options before the reverse “tail” becomes apparent.

Slow. This is like Slow Damped but without damping. With standard reverb, the tail stays louder longer, and because there's no damping, the sound is brighter. This contributes a more dramatic reverb sound that “blooms”. With reverse reverb, this option gives the fastest transition to the rising reverb effect.

The effect of these different types is most obvious with longer reverb times, and more subtle with shorter reverb times.

Tip: With the longer reverse impulses, reducing the REmatrix Solo Time control removes the “snap” to higher levels at the end, which produces a more standard reverb sound but with an attack time. These reverbs can be very useful and sound quite authentic.

 

See:

REmatrix Solo convolution reverb

To import your own IR files

ProChannel (Platinum and Professional only)

New features

 

See also:

NYC Showroom Impulse Responses for REmatrix Solo Convolution Reverb (Platinum only)