Native Instruments Elektrik Piano 1.5 VSTi DXi RTAS AU HYBRiD | Temp

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Longer than anyone in the industry, and with more ear for detail, Audio Ease has been traveling the world to record the acoustics of the best sounding spaces.
The results of hundreds of these recordings are included with Altiverb 8.
Ranging from London's Wembley stadium to the ancient caves of the island of Malta and the churches, concert halls and rock studios from cities like Tokyo, Paris, Amsterdam, Berlin and New York.

Native Instruments Elektrik Piano 1.5 VSTi DXi RTAS AU HYBRiD temp

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The Impulse Response library is now more accessible then ever because of Altiverb's newly designed browser. Select impulse responses by clicking photos of rooms. Instant, gapless loading, finding similar sounding spaces, organise by reverb length (RT60), and single click favorites are just a few of the possibilities. The Impulse Response Browser and the pictures in it are resizeable and contains an extensive search field.

First class orchestral recording studios from the US East and West coast are featured in Altiverb, like Todd AO, 20th Century Fox, paramount, some of these studios do no longer exist, but their sound lives on in Altiverb.

Many world class recording studio live spaces and echo chambers, from Tokyo to Paris are part of the library.
(Not your) every day roomsThe POST category features many different spaces, domestic like bathrooms, restrooms, kitchens, different types of transport, trains, cars, planes, huge domes and small places.

Many world class recording studio live spaces and echo chambers, from Tokyo to Paris are part of the Altiverb impulse responses library.
Every day roomsThe POST category features many different sounding spaces, every day rooms like bathrooms, restrooms, kitchens, different types of transport, trains, cars, planes, but also the not so ordinary, odd sounding, spaces like museums, huge domes or sewer pipes.

Altiverb contains a tremendous amount of classic reverb gear and purpose built echo chambers. You will find all the EMT plates you want, spring reverbs, classic digital gear like the 480, 224, the RMX 16, the 250. Add the Frank Sinatra and Beach Boys echo chambers and you have everything you need to recreate all those classic sounds.

The EMT 250 audio examples are recordings of the DRY input track played through the actual EMT 250 hardware reverb at the IR recording session by Arjen in New York.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the DRY input sends to an Aux track with the Altiverb 7 plug-in inserted and Altiverb 7 has loaded the IR of the same EMT 250 setting.

The SST-282 audio examples are recordings of the DRY input track played through the actual SST-282 Space Delay in Stanley Arts' studio at the actual IR recording session.
The ALTIVERB examples are bounced tracks from a Reaper session in which the DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same SST-282 setting. A stretch of SST-282 DA converter noise was mixed into the Altiverb mock up to make the comparison fair.For the joy of listening to a nice piece of music, both examples have the same amount of DRY input mixed to it. The guitar example is a snippet from Kiss Landing by Pierre Bensusan.

In all examples there was no damping applied in the 240 unit. Martyn's setting is his preferred one: the -24dB Low cut on the 240 and a personal EQ setting to boost treble. The other two examples are the -24dB low cut and no low cut. All 240 audio examples are recordings of the DRY input track played through the actual 240 Gold Plate in Martyn Heyne's Studio in Berlin at the IR recording session.
The ALTIVERB examples are bounced tracks from a Pro Tools session in which the same DRY input has the Altiverb 7 plug-in inserted on its track and this Altiverb 7 has loaded the IR of the same 240 setting.
A close listen will reveal that the IR in Altiverb lacks the noise the real 240 reference recording has.

With the sweeps and tool you get with Altiverb 8 you can capture acoustics yourself and use these impulse responses in Altiverb.Please check the tutorial video and follow the tips to get best results.

To make your own impulse responses (IRs) you must playback a sweep sound from a speaker.
You must record this with microphones, as many as you want output channels from your altierb impulse response.
The input recording must be an interleaved wav file with SMPTE channel ordering, so if you need a center channel it must be the third channel. Pro Tools bounces any interleaved file always in SMPTE channel order.
The largest alowed output configuration is 9.0.6. (note: 7.0.6 is not produced, instead 9.0.4 is produced when 13 channels are in the recording.).
The recording must contain either 1 sweep, including start and end blip, for mono input, or two sweeps for stereo input.

Impulse Repsonses made like this, with the Altiverb sweeps and the tool that comes with Altiverb, may only be used in Altiverb. These IRs are saved in Altiverb Proprietary format. Reverse engineering or re-sampling is prohibited. This information is also in the End User License Agreement of Altiverb.

On a busy film set when people are waiting, time is limited. When you do not have the time to use an entire minute per take use one of shorter sweeps below.Do select the proper sweep for the length of the reverb you wish to sample.

Spring reverbs, echo chambers, plate reverbs and other analog reverbs: please use the sweep files mentioned above.
For digitally connected reverb gear: use the spike file below. It is prefered over sweeps when capturing time variant features like chorus.

This essential reverb parameter is very prominent in Altiverb 8. You can apply an exponential decay on any impulse response to reduce the reverb time, without changing the character of the room. Read more...

Real spaces often contain less high frequency content than algorithmic (synthetic) reverbs. Sometimes you need that extra sparkling brightness in a reverb tail that is just hard to obtain from the real world. Read more...

Control the reverb length of three separate and adjustable frequency bands. Shortening is damping, lengthening is enhancing. You can see the effect of damping in the waterfall graph of the impulse response.

You should use it fully wet, but even then you hear quite some dry-ish material, because there is a direct path from speakers to microphones. A demo of this is in the first minutes of the Altiverb 8 guided tour video.

The four knobs on the right manipulate the different stages of the impulse response, starting with the earliest part: the direct sound. The gain and color of the direct sound can be adjusted. Color is adjusted between neutral (flat) and the actual direct sound that is in the Impulse Response (IR), which sounds more realistic, but can give unwanted coloration as it can contain a very early reflection from an on stage piano or the stage itself, and also includes speaker and microphone coloration.
Early and tail can be switched on or off and the levels can be changed too. Read more...

An exhaustive recording session in a Viennese concert hall gave us an algorithm that allows you to accurately place your sound anywhere on stage of all our concert halls, or in any of our other rooms. Physically correct sound placement using the Altiverb Stage Positioner creates a stunningly realistic audio panorama.

Back in December 2003 Audio Ease went to several rooms to make samples using a larger than usual set of source positions. The goal was to find out what exactly the influence of stage position is on the impulse response, so an algorithm could be derived that allows the source sound to be moved around on the stage of any hall or room available in Altiverb. The following is a demo using Altiverb's resulting 'stage positions' feature for a specific case:

We asked Maarten Spruijt, composer, maker of primary demos for such renowned sample manufacturers as Vienna Symphonic Library, Spectrasonics and ProjectSAM, to compose a short movement for us. As his instrument he chose to use the Vienna Symphony Library of orchestral samples.

To ease the load on the CPU, and to remain more flexible, the choice was made to not render the full tail in all instrument tracks. Instead all 15 Altiverb instances in the instrument tracks only use the direct sound and the early refs (reflections).

On the master track, one Altiverb will take take care of the tail. This way the longest part over the reverb is applied once instead of 15 times and by using this setup you can easily change the tail sound.

Then the Altiverbs were switched to their Stage positions tabs. The direct gain control now becomes disabled, as the Stage positions control takes over the gain of the direct sound.
Stage positions were selected, by dragging the speaker for mono instrument tracks, or by dragging both speakers for placement of stereo mixdowns of instrument groups.
Classic orchestral positions were selected, with percussion in the far back of the stage.

With all of the instruments placed properly a final Altiverb was put in the master channel to take care of the reverb tail. Mechanics Hall in Worcester MA was selected to provide the reverb tail. The instrument tracks now provided the direct sound and early refs in the production, so the direct sound of the master Altiverb was set all the way down, as well as some of its early reflections (early).

Altiverb 8 XL and Regular feature the same controls, the same impulse responses. Sessions made with Regular can be opened with XL (and the other way around), as long as the session is within the Regular limits (stereo & max 96kHz).

Altiverb is a music and post reverb. The 5.0-in 5.0-out Altiverb, however is mainly targeting post.The 5.0-in 5.0-out Altiverb 8 loads new true 5.0 IRs by default, implements easy center-channel-only reverb with input pan following and adjustable cloud size. For Post this instance has undergone massive improvements and it was the most challenging to keep it backward compatible.