Using Speaker Impulse Responses for Mix Portability
vo1k1
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Sat, Jun 28, 2008 @ 4:54 PM
Mixing for portability across a number of playback systems and environments is a struggle for me (e.g., the feedback loop between trying a new eq setting and auditioning in the car is brutal).
I started using the following technique, which is pretty nice for getting a good percentage there, without the pitfalls of dashing to every audition environment. Load Speaker IRs into a convolver as the last plugin on the mix buss. Is this obvious? Do many people do this? It seemed like a nice tip to share! |
Surveillance_Party
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Wed, Jul 2, 2008 @ 10:10 AM
 What a clever idea vo1k1!How is this working for you? Do you find you’re getting an adequate representation of the different speaker types using this method? I suppose that its impossible to technically get 100% the sound of say a car using this method, seeing as its still yor monitors making the sound, and its still bouncing around in your particular mix room, but I don’t suppose this would really be an impediment to it practical use. I’m heading over to gearslutz to ask the honcho’s what they think, keep an eye out for the thread. |
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I posted it in the mastering forum. I just looked at the link, and its come up with your tag in part of it. Sorry, I didn’t think that would happen. Want me to delete it? I don’t mind.
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Hey SP, glad you like the tip :)
Please go ahead and post at GS! What is the URL? I did have a post on the subject, but did not get a reply. Maybe your post will market itself better :) It is absolutely not a 100% solution for a number of reasons (like the ones you note). But it is very good at *quickly* previewing and revising with several *emulated* speakers/environments. So, depending on your time and resources, this can be a real advantage. Post the GS URL? Also, if you try, let me know how it goes? |
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spinmeister
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Wed, Jul 2, 2008 @ 6:42 PM
Quote: vo1k1auditioning in the car is brutal
I’ve never dared to fire a gun shot in my car to record the impulse response :-) |
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I’ve had the painful experience of turning my car around on the way to dropping off DIY masters.
But all that nonsense stopped when I got a pair of real speakers and a sound level meter - plus four years of trying to get better. now I’m not saying my DIY mixes are perfect or even consistently professional sounding but since I got that setup I’ve stopped racing around the house and the car with and without headphones and ipods etc. to get the basic thing done. |
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I just splurged on a pair of these :-)
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shooting the room was very quick to set up and perform: plug in the little special mike into the left speaker, put that mike to where I usually sit, press a specific button sequence on the left speaker, and 10 seconds later it’s done.
While I’m not a professional sound engineer, the one thing I noticed immediately is, that the sound out of the speakers seems so incredibly smooth. No harsh sonic edges anywhere. So I think I’m definitely suffering from less ear fatigue than with any other sets of speakers I’ve had before. |
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hehe - at least you’ve generated some revenue with your music - while for me the pay-back curve (in a P&L sense) is firmly fixed pointing at infinity :-)
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Quote: fourstonesI’ve had the painful experience of turning my car around on the way to dropping off DIY masters.
I like that post. For me, getting something bounced that is competitively loud for mp3 distribution is a real problem, in terms of esthetic quality. |
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yeah - compression for loudness is both a hideous thing from an aesthetics perspective, and on the other hand a vital thing from a practical perspective. I practically never listen to music in a serenely quiet environment, so soft passages get drowned out unless compressed.
I often even wish classical music was compressed a little more, or ideally speaking: car stereos (or any music system) should have compressors, so one could adjust the compression during playback rather than during mastering. |
DIY::Using Speaker Impulse Responses for Mix Portability
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