Impulse Response Utility

For OS X
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 Contents

4 Chapter 1:Impulse Response Utility

4 Impulse Response Utility overview
5 Deconvolution and impulse responses

6 Chapter 2:Impulse response recording hardware

6 Impulse response recording hardware overview
6 The ideal impulse response recording setup
7 Alternative impulse response recording setup
8 Speaker and microphone placement
8 Speaker and microphone placement overview
9 Virtual listener approach
10 Auralization approach
11 Virtual echo chamber approach

12 Chapter 3:Create impulse responses

12 Impulse Response Utility workflow
13 Create an Impulse Response Utility project
13 Set up audio I/O and monitoring
14 Audio track parameters
16 Sweep Generator
17 Record audio in Impulse Response Utility
20 Deconvolve your impulse response
20 Edit your impulse response
22 Audition window
23 Create a Space Designer setting
24 Open, save, and revert to saved projects

25 Chapter 4:B-Format surround encoding

25 B-Format surround encoding overview
26 Advantages of B-Format surround encoding
26 Microphones for B-Format recording

3
Impulse Response Utility
1
Impulse Response Utility overview
Impulse Response Utility is a multi-track audio recording and deconvolution application. It
enables you to create your own impulse response files for the Space Designer convolution-
based reverb effect. For information about Space Designer, see Logic Pro Effects. Although Space
Designer comes with plenty of great sounding halls, delays, and other reverbs, you might want to
create an impulse response of your own studio, kitchen, bathroom, or even teapot.

You are not limited to creating impulse responses from rooms and spaces. You can make an
impulse response from any device that you can play a broadband sine sweep into and record the
results. Two examples are guitar speaker cabinets and hardware processing devices, such as tube
equalizers and reverb effects units.

Impulse Response Utility provides all tools needed to create an impulse response, such as a
flexible sweep generator, powerful editing facilities, and one-click creation of Space Designer
settings. All you need is your Mac, Impulse Response Utility, and an audio interface that is
connected to speakers and microphones.

All parameters and functions that you need to create impulse responses are contained in a
single window.
Hardware I/O
Assignment area

Editing area

Inputs/Track section

Monitor and Sweep

Generator section

4
 Impulse Response Utility is divided into four areas:
Hardware I/O Assignment area: Contains pop-up menus that enable choice of the audio input
and output device. See Set up audio I/O and monitoring.
Monitor and Sweep Generator section: Contains monitoring and sine sweep generation
parameters, plus buttons to deconvolve your audio tracks into an impulse response and to
audition your IR. See Sweep Generator.
Inputs/Track section: Lists all audio tracks used for your impulse response recordings. See Audio
track parameters.
Editing area: Displays the audio information of the currently selected audio track. See Edit your
impulse response.

Deconvolution and impulse responses

Space Designer combines, or convolves, an impulse response of an acoustic space with an audio
signal. The end result is that your audio is placed inside the acoustic space, represented by
that impulse response. Think of an impulse response as the total echoes (reflections) in a given
physical space, following an initial signal spike. The impulse response file is an audio recording
made in a space that contains these echoes.

There are two practical approaches to impulse response recording: the transients method and
the sine sweep method.

Transients method
The transients method involves the recording of an impulse in a space, using a device such
as a starter pistol. The gunshot is the impulse, and the audio file you record captures both the
impulse (the gunshot) and the room response.

The advantage of this method is that the recorded audio file can be used in Space Designer
without any further processing. You can use Impulse Response Utility to record your starter
pistol impulses and then combine them into a Space Designer Impulse Response (.sdir) file and a
Space Designer setting file.

The disadvantage of this method is that it is difficult to make a perfect, undistorted recording of
a starter pistol shot. This is due to the extremely loud nature of the initial transient of the shot. A
further issue is that starter pistol shots contain very little high or bass frequency information
which, in turn, limits the usable frequency range of the convolved reverb.

Sine sweep method

Use of a sine sweep is the preferred method for creating impulse responses. You play a
broadband audio sine wave sweep into a space and record the sweep (and space) at optimal
levels. A sine sweep that covers the entire audible frequency range is used, resulting in a broad-
range, and often higher-quality, impulse response.

The recorded sine sweep audio file cannot directly be used as an impulse response. The recorded
file contains all the echoes and reflectionsin other words, the responseof the space,
stretched out over the length of the sine sweep. This is very different from the starter pistol
approach, where the response is contained at the beginning of the file in an impulse.

When you use a sine sweep, Impulse Response Utility uses a process called deconvolution to
time align and level align all recorded reflections that are present over the entire recorded
sine sweepinto the very beginning of the file. This results in an impulse response that Space
Designer can use to combine, or convolve, with your audio signal. Impulse Response Utility can
then generate an .sdir setting from the impulse response.

Chapter 1Impulse Response Utility 5

Impulse response recording
hardware 2
Impulse response recording hardware overview
Prior to using Impulse Response Utility to create an impulse response, you need to set up your
recording hardwareallowing playback and recording of the sine sweep that Impulse Response
Utility will generate.

The impulse response of a space is never only the spaces impulse response. The recorded
impulse response is always the response of the complete systemevery piece of equipment you
use in the recording process. This includes, in signal-flow order: the digital-to-analog converter,
the amplifier and speakers (or powered speakers), the room characteristics, the microphones, and
finally the microphone pre-amp and analog-to-digital converter. Of these elements, the choices
of microphones and speakers are the most critical.

There are no rules as to which brand or make of microphone or speaker will result in the
best impulse response. A general guideline is to use speakers and microphones with a flat
responsethe speakers and microphones should offer a very even signal at all frequencies. Tube
microphones, which are generally valued for the tonal color that they add to the signal, may
not be appropriate for recording impulse responses. In general, microphones that work well for
recording ambience are good candidates.

The ideal impulse response recording setup

When making an impulse response recording, ideally you will have one speaker for each speaker
location required by the chosen format if you are recording sine wave sweeps. For example,
if you are recording a true stereo impulse response, you will need two speakers; if you are
recording a six channel surround impulse response, you will need six speakers; and so on. If you
are not generating sine wave sweeps, you do not need speakers to play them back (the sound is
generated by the starter pistol).

Note:In many cases, it is sufficient to record one speaker position (but all microphone positions
required by the chosen impulse response format) and create a Mono to Omni discrete impulse
response. This results in a less CPU-intensive impulse response in the required format. See Record
a five channel mono to omni impulse responseon page18.

You will also ideally have one or more microphones to record the resulting audio from each
speaker (or your starter pistol) combined with its echo reflections. The number of microphones
you will need depends on the chosen impulse response format. For example, if you are recording
a six channel surround impulse response, there are six microphone positions, so ideally you will
have six microphones. If you are recording a six channel B-Format encoded impulse response
where only one microphone position and four tracks are requiredyou will need fewer
microphones. See B-Format surround encoding overviewon page25 for more information.

The final element in a perfect recording setup is an audio interface that provides enough
outputs to send a broadband audio sine sweep into each speaker if you are using sine sweeps
and enough inputs to record the resulting audio from each position.

6
 Note:You may also need additional microphone pre-amplifiers if your microphones cannot
capture a sufficient signal level or your audio interface does not provide enough mic
pre-amp inputs.
Example of speakers and microphones set up to capture a 5.1 multi-channel impulse response

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Surround Audio interface
microphone
tree Computer

Alternative impulse response recording setup

It is possible to make discrete multi-track impulse responses even if you do not have enough
speakers or microphones. In this situation, you record one sine sweep at a time in Impulse
Response Utility, using as many speakers as you have, then move the speakers to new positions
and repeat the process. For example, imagine you have a stereo pair of speakers but want to
create a quadraphonic impulse response, which requires the recording of four tracks in four
different speaker positions. You could set up your pair of monitors, record their output, then
move them to record the other pair of tracks in the other two speaker positions.

This method of creating impulse responses is time-consuming, and not having all speakers
required for the format makes optimal monitor placementrelative to each otherdifficult.
With time and careful planning, however, you can still achieve the same results as would be
possible with an ideal complement of speakers.

You can also create multi-channel impulse responses in Impulse Response Utility through use
of the Mono to Omni Discrete impulse response format. This requires you to record one speaker
with the number of channel microphones required for the chosen format. The resulting impulse
response places a lower strain on your CPU. See Record a five channel mono to omni impulse
responseon page18.

If you have enough monitors but not enough microphones, you can set up the required
speakers and move your available microphones between them. This makes optimal microphone
placementrelative to other microphonesdifficult, but you have the advantage of optimal
speaker placement.

If your audio interface does not have the required number of inputs and outputs for the speakers
and microphones you are using, you can still set up all mics and speakers. As you record different
tracks in Impulse Response Utility, you will need to disconnect and reconnect the speakers and
microphones in turn.

See Speaker and microphone placement overviewon page8.

Chapter 2Impulse response recording hardware 7

 Speaker and microphone placement
Speaker and microphone placement overview
Where you place your speakers and microphones in the recording space has a significant impact
on the specific echoes and reflections that your impulse response captures.

There are no hard rules for recording and so you should experiment with different mic and
speaker positions and try a variety of microphones and techniques. There are, however, some
guidelines that may help when you make your initial recordings.

In environments with hard floors, made from materials such as concrete, you may find that
a chirp is recorded at the beginning of your impulse response. This sound is actually the
generated sine sweep resonating through the floor into the microphone stand, then into the
microphone itself. The speed of sound through floors and concrete is much faster than through
air, resulting in a pre-impulse response that starts before the impulse response you want to
record. To circumvent this potential problem, you can use studio drum pedestals and specialized
microphone mounts that have strong acoustic absorbers built into them. If you cannot transport
drum pedestals or do not have access to microphone mounts, try a thick carpet under the
speakers and microphone stands.

There are some specific approaches outlined in the sections referred to below that you might
want to try when creating impulse responses. These contain suggestions only; there are no
rules regarding how far the speakers need to be placed away from the microphone array, the
best angles, ideal distances between speakers and microphones, and so on. You may want to
try a number of different techniques and placements to find the ideal arrangement. See Virtual
listener approach, Auralization approach, and Virtual echo chamber approach.

Chapter 2Impulse response recording hardware 8

 Virtual listener approach
The virtual listener approach is perhaps the most common technique for placing speakers and
microphones when you create impulse responses. The goal is to capture the effect of the echoes
and reflections coming from all around the spaceas heard at the listening position. In this
approach, the speakers are set up at the edges of the room, and the microphone is placed in the
listening position.

The resulting impulse response should sound like your audio is being played back from the
various speaker locations in the space. This method does not require multiple microphones; a
single microphone can be turned toward each speaker in turn, and different audio recordings
can be made from the same location. The image illustrates the virtual listener approach to
setting up five speakers for a five channel surround impulse response, with one microphone
placed centrally in the space.

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Ls Surround Rs
microphone
tree

This method can create the impression of the audio signal being completely immersed in the
simulated space.

Chapter 2Impulse response recording hardware 9

 Auralization approach
A common strategy for placing speakers and microphones in a space uses the auralization
approach. This technique attempts to capture the reflections from the performers perspective.
Place one or more speakers at the performers location (or another audio source) and place the
microphone at the listening position. The resulting impulse response should sound like your
audio is being played back from these specific speaker locations. For example, you can make a
stereo impulse response of a particular stage using the auralization technique. When you then
use the impulse response in Space Designer, your audio should sound like it is on that stage. The
image illustrates use of the auralization technique to set up your speakers and microphones for a
true stereo impulse response.

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Stage

Audience

To capture a surround impulse response that represents being in the audience of a space, set up
two speakers in the performers position as above, but place a surround array of microphones
around the room. This can create a realistic feeling (and effect) of being in the audience when
the performance is coming from in front of you. This can also help to create a surround-like effect
from a live stereo recording.

Chapter 2Impulse response recording hardware 10

 Virtual echo chamber approach
An alternative to the auralization approach is placement of your speakers and microphones in
a way that creates a virtual space that resembles a physical echo chamber. To create this kind of
impulse response, face the loudspeakers toward the corners and the microphones toward the
opposite corners. This is how microphones in a physical echo chamber would be placed. This
eliminates a direct path from the speaker to the microphone and captures more reflections. The
image illustrates how you could set up two speakers and two microphones to create a stereo
impulse response using this virtual echo chamber approach.

L R

The resulting impulse response allows you to mix the reverb into the dry signal, without any
phase cancelation issues caused by early reflections or direct signals. This approach works well
if you want to keep your signal mostly dry, without any alteration or coloration from the reverb,
but still want to add a high-fidelity reverb tail to your audio.

You can also use this method for surround or multi-channel reverbs. The main concept
to remember is that the speakers should be pointing at the wall to eliminate direct paths
between microphones and speakers. The illustration below offers a possible layout for a five
channel reverb chamber. The loudspeakers, placed in a circle, are directed at the walls, and the
microphone array is placed in the center of the circle.

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Ls Rs
Surround
microphone
tree

Chapter 2Impulse response recording hardware 11

Create impulse responses
3
Impulse Response Utility workflow
Creating an impulse response in Impulse Response Utility consists of the following stages:

Create a new project

Configure your Impulse Response Utility project for the number of tracks your impulse response
format requires. See Create an Impulse Response Utility project.

Set Impulse Response Utility parameters

Set the hardware I/O, monitor, and sweep parameters for your audio track recordings. See Set up
audio I/O and monitoring and Sweep Generator.

Record audio
Use Impulse Response Utility to record the audio tracks needed for your impulse response. See
Audio track parameters and Record audio in Impulse Response Utility.

Deconvolve your audio recordings

Assuming you have recorded sine sweeps, deconvolve after all audio tracks have been recorded.
Impulse Response Utility will generate an impulse response from your tracks. See Deconvolve
your impulse response.

Edit and audition your impulse response

Cut silent portions, apply fades, and so on, to optimize your impulse response. See Edit your
impulse response and Audition window.

Create a Space Designer setting

When finished with the steps above, add the newly created impulse response to your list of
available Space Designer settings. See Create a Space Designer setting.

12
 Create an Impulse Response Utility project
When you first open Impulse Response Utility, the New Impulse Response Project dialog appears.
This is the first step in creating a new impulse response project. You can also create a new
impulse response project by choosing File > New Project (or pressing Command-N).

Impulse Response Utility offers formats ranging from conventional stereo impulse responses,
true stereo (where each channel is processed discretely), quadraphonic formats, or five, six, or
seven channel surround formats. These latter formats can be in either traditional multi-track or
B-Format encoding. See B-Format surround encoding overviewon page25 for more information.

You can also create multi-channel impulse responses in Impulse Response Utility by using the
Mono to Omni Discrete impulse response format. This only requires the recording of one speaker
by as many channel microphones as needed (for the chosen format). The resulting impulse
response places a lower strain on your CPU. See Record audio in Impulse Response Utilityon
page17.

Create a new impulse response project

1 Choose an impulse response format from the Configuration pop-up menu.
In the window below the Configuration pop-up menu, the dialog displays the number of speaker
and microphone positions required by the selected format.
2 Click OK.
The required number of tracks (determined by the format you chose) are shown in the Inputs/
Track section of Impulse Response Utility.

Set up audio I/O and monitoring

You need to set up the audio input and output device before you can use Impulse Response
Utility.

The audio input selection determines the audio device used to record audio tracks. The audio
output selection determines the audio device used to monitor the recorded signal and to play
back the generated sine sweep.

Once you have recorded sine sweep tracks in Impulse Response Utility, you can monitor them
through a stereo output of your choice. The monitor controls determine the monitor channel
and level. You can also mute the monitor section.

Select an audio input device

mm Choose an audio interface driver from the Audio Input pop-up menu.

Chapter 3Create impulse responses 13

 Select an audio output device
mm Choose an audio interface driver from the Audio Output pop-up menu.

Note:Although the Hardware I/O Assignment area also displays the current sample rate, you
cannot change the sample rate of your impulse response project in Impulse Response Utility.
If you want to record your audio tracks at a different sample rate, you need to change it in the
Audio MIDI Setup utility or in the software for your audio interface (if applicable). Consult the
documentation for your audio interface if you are unsure.

Select the stereo monitor output channels

mm Choose the desired stereo output pair from the Monitor Channel pop-up menu.

Adjust the output level of the monitored signal

1 Click inside the Monitor Level field.
2 Do one of the following:
Drag left (or down) to reduce the volume, or right (or up) to raise the volume.
Enter a numeric value for the monitor level (any value above 0dB sets the monitor level at
0dB).

Important:To avoid audio feedback when recording, be sure to mute the monitor output.

Mute the monitor output

mm Select the Monitor Mute checkbox or press the M key.

Audio track parameters

The Inputs/Track section is automatically filled with the number of tracks required for the
impulse response recording, based on your selections in the New Impulse Response Project
dialog. Every track lane in the Inputs/Track section has a number of parameters. Some are
automatically configured by Impulse Response Utility; others you need to set before recording.

Track parameters
Speaker Position pop-up menu: Choose the speaker position label for the selected track. Both
Impulse Response Utility and Space Designer use these labels to identify and process the
audio files that comprise a multi-channel stereo or surround impulse response. Impulse
Response Utility automatically sets the speaker position label for each track, but you can
change these labels to any other position available in the current impulse response format.

Chapter 3Create impulse responses 14

 Mic Position pop-up menu: Choose the mic position label for the selected track. Both Impulse
Response Utility and Space Designer use these labels to identify and process the audio files
that comprise a multi-channel stereo or surround impulse response. Impulse Response Utility
automatically sets the mic position label for each track, but you can change these labels to any
other position available in the current impulse response format.
Input pop-up menu: Choose the physical input for each track. Be sure to select the correct input
before recording.
S[olo] button: Click to hear the selected track in isolation. When the Solo button is on (yellow),
the input signal is routed to the monitor section and the input level is displayed in the
VUmeter.
R[ecord-Enable] button: Click to place the selected track into record-ready mode. Clicking
this button also turns on the Solo button for the selected track, allowing you to monitor the
input signal before recording. You can record-enable several tracks at once, for multi-channel
recording. When you click Sweep/Record, a recording is made on all record-enabled tracks.
L[ock] button: Click to lock the selected track.
Note:As soon as one track is locked, the sweep generator parameters are also locked. This
ensures that any subsequent recordings will use identical sweep settings. This is necessary
because every track must use an identical sine sweep to produce a phase coherent, accurate,
multi-channel impulse response.
Peak field: Displays the peak level value in dB. If the level ever exceeds 0dB, the peak value is
held until cleared. Click the Peak column header to reset the Peak readout for all tracks.
Level: Displays input meters for each track. These level meters always show the current level of
the physical inputs.
VUmeter: Measures either the signal level present at the (soloed) track input or the sweep
generator output. During playback of recorded audio, the VUmeter displays the level of the
selected track. A status message below the VUmeter shows its current operating mode. The
VUmeter scale ranges from 0% to 100%, with 100% equaling 0dB.

Chapter 3Create impulse responses 15

 Sweep Generator
The Sweep Generator produces a sine wave that sweeps smoothly from 20Hz up to 20kHz.

Sweep Generator parameters

Sweep Channel pop-up menu: Choose the input channel you want to use.

Test Tone pop-up menu: Choose a test tone frequency for the sustained (non-sweeping) sine
wave tone generator. Use this test tone to ensure that your hardware output channel is
connected properly and that your speakers can reproduce the selected sine wave frequency.
On checkbox: Click to hear the test tone.
Sweep Level field: Drag vertically to set the level of the test tone.
Sweep Length pop-up menu: Choose one of three sweep durations. Ideally, you want your sine
wave to be short because this can avoid recording artifacts caused by air motion, rattling of
interiors, and other ambient noise. Unfortunately, short sweeps may not yield adequate signal-
to-noise ratios in some recording situations. If the results you attain from recording with a
10-second sweep are not suitable, try the 50-second sweep.
10s: A 10-second sine sweep
50s: A 50-second sine sweep
Off: No sine wave sweep. Choose this setting if you are recording a starter pistol impulse.
Reverb Time field: Drag to set the maximum recording time for each track. To accurately capture
the acoustic properties of a space, you should set a value that is long enough to capture the
decay phase of all reverberations and echoes.
Note:If you are using the Sweep Generator, the reverb time starts when the sine sweep ends.
If you have set the Sweep Length parameter to Off to record a starter pistol impulse response,
the Reverb Time parameter determines the entire length of the recording.
Preroll checkbox: Click to make sure that no operator noise, such as typing, adjusting
microphones, and so on, is recorded. The pre-roll length is determined by the value set with
the Reverb Time parameter.

Chapter 3Create impulse responses 16

 Record audio in Impulse Response Utility
Once you have made hardware assignments and configured the monitor and sine sweep
parameters, it is time to start recording audio tracks. If you are using the Sweep Generator, you
will hear the sine wave sweep up through its frequency range. Impulse Response Utility records
the result on all record-enabled audio tracks. If you have turned off the Sweep Generator, click
Record, and shoot your starter pistol. Impulse Response Utility records the resulting impulse
response onto the selected track.

Impulse Response Utility records into your computers RAM, not to your hard disk. This means
that nothing you have recorded is saved until you save your project. For your convenience,
Impulse Response Utility automatically saves your project to disk after every recording. If you
have not saved your project, the Save dialog appears, allowing you to name your project and
choose a hard disk location. If you have already saved your project, the save process happens
automatically. See Open, save, and revert to saved projectson page24.

Select an audio track

Do one of the following:
mm Click a track lane.
mm Use the Up and Down Arrow keys to navigate through the track list.

Record in Impulse Response Utility

If you are using the Sweep Generator, the Sweep/Record button is labeled Sweep. If you have
set the Sweep Length parameter to Off, the button is labeled Record.
1 Select an audio track in the Inputs/Track section.
2 Configure the audio track for recording.
3 Repeat this step for each track required by the chosen format.
4 Click the Sweep/Record button to begin recording.
If you click Sweep: The recording process starts automatically and generates the sine sweep.
The VUmeter is automatically switched to display the sweep generator output.
If you click Record: The recording process starts automatically. Shoot your starter pistol and
Impulse Response Utility records the audio.
5 Recording continues until the entire sine sweep (if the Sweep Generator is being used) and
Reverb Length time have elapsed. The recording automatically ends.
You can stop the recording process at any time by clicking the Sweep/Record button.
Note:The Sweep/Record button is not available if no track is record-enabled.

Record a five channel surround impulse response

This task assumes that you have set up your speakers and microphones using the Virtual listener
approach that requires five speakers and at least one microphone in the middle, which can
be turned toward each speaker in turn. Ideally, you will have five identical, powered monitors.
This will save you time when recording audio and will allow you to see all speakers at once to
ensure they are each the same distance from the corners and walls, and so on. When all speakers
have been positioned, you need to set up your microphone in the middle of the hall. Make sure
everything is properly connected to your audio interface.
1 Choose the 5 channel template from the Configuration pop-up menu in the New Impulse
Response Project dialog, then click OK.

Chapter 3Create impulse responses 17

 As shown in the dialog, this format requires five speaker positions and five mic positions. After
you click OK, 25 audio tracks appear in the Inputs/Track area, one for each speaker position, from
every microphone position.
2 Position your microphone toward the speaker you want to record (the left front speaker, for
example).
3 Set up the monitor section, Sweep Generator, and input for the selected track.
4 Record-enable the selected track, and click the Sweep button.
Impulse Response Utility prompts you to name and save the new project after your
first recording.
5 Swivel the microphone to the second surround position, record-enable the track, and click the
Sweep button.
Once the recording is completed, the project is automatically saved.
6 Repeat this process another 23 times, until you have recorded all 25 audio tracks needed to
capture all possible microphone and speaker position combinations.

Record a five channel mono to omni impulse response

In many cases, it is sufficient to record one speaker position rather than multiple positions, thus
creating a mono to omni impulse response. Mono to omni impulse responses are easier and
faster to record and place a lower strain on the CPU when played.
1 Choose the Mono to Omni to 5 channel template in the New Impulse Response Project dialog.
As shown in the dialog, Mono to Omni discrete projects require only one speaker.
2 Aim your speaker toward the ceiling or a back wall.
3 Point your microphone to the first surround position: to the front left, for example.
4 Record the sweep.
5 Repeat the process for all remaining microphone positions.

Record an impulse response from a guitar speaker

You are not limited to creating impulse responses from rooms and spaces. You can make an
impulse response from any device that you can play a broadband sine sweep into and record
the results, such as a guitar speaker cabinet. If you make an impulse response from a guitar
speaker cabinet and then run a direct guitar amp signal through that impulse response in
Space Designer (set to 100% wet), the direct signal will sound as if it was played through the
speaker cabinet.
1 Plug your audio interface output directly into an effects return input on your guitar amplifier. If
your guitar amp does not have an effects return, you can either use a re-amp box that raises
the impedance of your audio interfaces line out to the level required by your guitar amplifier at
its input, or you can use a line level amplifier in place of your guitar amplifier to amplify the sine
sweep through the guitar cabinet.
2 Plug your guitar amp effects return output directly into your audio interface input.
3 Choose the Mono or Stereo template in the New Impulse Response Project dialog.
4 Position your microphone approximately one inch from the center of the speaker.

Chapter 3Create impulse responses 18

 If you have a multi-speaker cabinet, experiment with positions.

Guitar amplifier Audio interface Computer

with microphone

5 Record the sweep.

Record an impulse response from a hardware effects unit

You are not limited to creating impulse responses from rooms and spaces. You can make an
impulse response from any device that you can play a broadband sine sweep into and record
the results, such as tube equalizers and reverb effects units. Imagine that you want to create an
impulse response from your favorite tube microphone pre-amp, allowing you to use its unique
color on your audio. This way, you can run a signal through this impulse response in Space
Designer (set to 100% wet) and add the color of your microphone pre-amp to the signal.
1 Plug your audio interface output directly into an effects unit input.
2 Plug your effects unit output directly into your audio interface input.
3 Choose the Mono or Stereo template in the New Impulse Response Project dialog.
4 Record the sweep.

Note:You should take care when making impulse responses from hardware effects devices that
include modulation effects. Modulations such as phasing, chorus, and so on, interfere with the
sine sweep itself, which makes deconvolution difficult or impossible. This is also true for some
reverbs, such as classic Lexicon hardware reverb devices, in which the reverb tails are modulated.
In these cases, it may be more effective to send a recorded impulse of a spike or gunshot
through the hardware effects device instead of a sine sweep.

Chapter 3Create impulse responses 19

 Deconvolve your impulse response
Deconvolution is the process used to create impulse responses from (recorded) broadband audio
sine sweeps. If you use the Sweep Generator, you need to deconvolve your audio recordings to
make them usable as an impulse response.

Deconvolve your audio tracks

Do one of the following:
mm Click the Deconvolve button.

mm Choose Edit > Deconvolve (or press Shift-Command-D).

Following deconvolution, your audio tracks will be a single impulse response that you can
audition, edit, and turn into an .sdir setting.

Note:While it is possible to deconvolve each audio track once recorded, it is an inefficient way to
work. It is far more efficient to wait until all tracks are recorded and then deconvolve them.

Edit your impulse response

When you have finished recording your audio tracks, you may need to remove silence at the
beginning or end of the file, adjust fade out times, and so on. Impulse Response Utility enables
you to cut, crop, and fade your audio files in the Editing area.

View an audio file in the Editing area

mm Select the audio file.
Your audio file automatically appears in the Editing area.

You can select from three different display views with the buttons at the top of the Editing area.
These views allow you to effectively analyze your waveforms, making it easy to identify material
you need to cut or crop or that requires a fade. The Spectrogram mode, in particular, which
simultaneously shows frequency, level, and time, allows for very detailed analysis of your audio.
Waveform button: Click to show the recorded audio as a standard waveform. The horizontal
axis displays the elapsed time. The vertical axis displays the audio level as a percentage.
Energy button: Click to show the sound energy distribution over time. The horizontal axis
displays the elapsed time. The vertical axis displays audio levels in dB.

Chapter 3Create impulse responses 20

 Spectrogram button: Click to show the frequency distribution over time. The horizontal axis
displays the elapsed time. The vertical axis displays the frequencies, which are color-coded by
dB range. See the color legend in the upper-right corner of the Editing area.

Select and play part of an audio file in the Editing area

1 Drag horizontally over an audio section.
2 Click the Play button to audition your selection. Click the Cycle button to continuously play back
the selected track.

Tip:Use the Space bar to toggle playback or the C key to toggle cycle playback.

Edit the selected part of an audio file

mm Select one of the editing operations using the buttons at the top-left corner of the Editing area:
Crop button: Click to remove audio to the right and left of your selection, without touching the
selected audio. You can also choose Edit > Crop (or press Command-X) to crop.
Note:If you make a selection that does not extend to either the beginning or end of the
audio, the left edit button activates the Crop function.
Cut button: Click to remove the selected audio, without touching the unselected audio. You can
also choose Edit > Cut (or press Command-X) to cut.
Note:If you make a selection that extends to either the very beginning or very end of the
audio, the left edit button activates the Cut function.
Fade button: Click to create a gradual fade over the length of the selection area. You can also
choose Edit > Fade (or press Command-F) to fade. If you make a selection that includes either
the very beginning or end of the audio, you can select the Fade function.
Important:To maintain phase coherency between all tracks of your impulse response, edits are
performed across all tracks equally. To ensure that your impulse response cannot include tracks
that are not edited equally, you are prevented from recording further tracks once an edit has
been made.

Chapter 3Create impulse responses 21

 Audition window
To hear how your impulse response will sound when used in Space Designer, you need to be
able to listen to it in context. Impulse Response Utility includes an Audition window for this
purpose, where the loaded impulse response can convolve test audio files. The Audition window
is divided into three sections: the Impulse Response area, the Monitor area, and the Audio Test
Files area.

The appearance of the Audition window changes slightly when using a B-Format impulse
response. The B-FormatAudition window removes the Output Channel parameter from the Track
area and includes a Loudspeaker area.

Audition Impulse Audition B-Format Impulse

Responses window Responses window

Impulse Response Utility allows up to five audio files to be loaded/used as sources when
auditioning your impulse response. The Audition window also includes four test source files.

Audition window parameters

Enable checkbox: Turns individual impulse response recordings on or off. Use these boxes to
select the specific file (or files) you want to audition.
InputID label: Identifies the specific impulse response file by its speaker > mic positions.
Output Channel pop-up menu (not available for B-Format Impulse Responses): Choose the
physical output channel used for playback of the selected impulse response.
Mix field: Drag to set the ratio of the dry test source signal to the wet effect signal.
Monitor Level field: Drag to set the overall auditioning volume.
Test Audio Files buttons: Click to play one of the four included test source audio files.
Open buttons: Click to load an audio file for use as a test source. Any uncompressed audio file
can be used.
Play buttons: Click to play the selected audio file through the enabled impulse response file (or
files).

Chapter 3Create impulse responses 22

 Loudspeaker parameters (B-Format only)
Number of Loudspeakers field: Click the arrows to determine the number of loudspeakers that
Impulse Response Utility will decode the impulse response into.
Loudspeaker Angle field: Drag to set the angle of each loudspeaker. The B-Format decoding
takes this into account when re-creating the recorded space.
Output Channel pop-up menu: Choose the physical output channel for the
selected loudspeaker.

Open the Audition window

mm Click the AuditionIR button.
The Audition window opens. None of the editing functions are available while the Audition
window is open.

Create a Space Designer setting

Once you are satisfied with your impulse response, the final step is to generate an .sdir file and a
plug-in setting. When done, your newly created impulse response can be used in Space Designer.

Create a Space Designer setting for your impulse response

Do one of the following:
mm Click the Create Space Designer Setting button.

mm Choose File > Create Space Designer Setting.

Impulse Response Utility generates an .sdir file of your impulse response and saves it in the
following directory: ~/Library/Application Support/Logic/Impulse Responses.
A plug-in setting file for your impulse response is also generated and saved in the following
directory: ~/Library/Application Support/Logic/Plug-In Settings/Space Designer.
The next time you open Logic Pro, your newly created impulse response will be available in the
Library and from the Space Designer Settings menu.

Chapter 3Create impulse responses 23

 Open, save, and revert to saved projects
The Impulse Response Utility project file is anOSX package file that contains all files associated
with the project.

Impulse Response Utility automatically saves your project as soon as you record audio. You can
manually save your project at any time, however. You can also open a previously saved project or
revert the current project back to its last saved state.

Open a project
Do one of the following:
mm Choose File > Open Project (or press Command-O), then navigate to your project file.
mm Choose File > Open Recent to open a hierarchical menu of recently opened project files.

Save your project with its current name and location

mm Choose File > Save Project (or press Command-S) to save your IR Project with its current name in
its current location.

Save your project with a new name or location

mm Choose File > Save As (or press Command-Shift-S).

Revert to a previously saved project version

If you are unhappy with the edits or recordings made in your current project and you have saved
the project, you can return the project to its last saved version.
mm Choose File > Revert to Saved.

Note:Once you use the Revert to Saved command, you lose all unsaved changes.

Chapter 3Create impulse responses 24

B-Format surround encoding
4
B-Format surround encoding overview
B-Format is a special way of encoding spatial information. It represents space using four audio
streams: one to capture the sound pressure (W), and three to capture the X (front-to-back), Y
(left-to-right), and Z (top-to-bottom) room coordinates. The illustration shows you how these four
audio streams interact with each other to create a three-dimensional spatial image.

Height
Z

Front Right
X Y
W

Y X
Left Rear

Space Designer can decode and convolve these four streams into reverbs in all supported
surround formats. Space Designer provides a comprehensive library of B-Format impulse
responses that use all four streams (W, X, Y, and Z). Because impulse responses do not make use
of Z-axis information, Impulse Response Utility only records and encodes information from the W,
X, and Y positions, saving CPU resources and disk space. Impulse Response Utility allows you to
encode all supported surround impulse response formats in B-Format.

See Advantages of B-Format surround encoding and Microphones for B-Format recording.

25
 Advantages of B-Format surround encoding
One advantage of the B-Format is that it can capture a surround image with fewer audio files.
Normally, you need to record every speaker position from every microphone position to correctly
record surround information. With B-Format, these four (or three, in Impulse Response Utility)
audio streams are all you need to capture audio from each speaker.

For example, imagine you are using a five channel setup and want to use Impulse Response
Utility to create a five channel impulse response. Using traditional methods, you need to record
all five speakers from all five microphone positions, resulting in 25 audio files. If you choose to
create your project as a five channel B-Format impulse response, you only need to record fifteen
audio filesthree audio recordings (W, X, and Y) from each of the five speaker positions. This
clearly illustrates that B-Format encoded surround impulse responses require far fewer audio
files, and therefore less hard drive space, as well as needing less RAM and CPU cycles when
decoded in Space Designer.

A second advantage to B-Format encoding is phase coherency when using multiple

microphones at once. Whenever you use multiple microphones, differences in the time it
takes sound to reach each microphone can result in phase cancelations and phase shifts that
can affect the quality of your impulse response. Because the point of reference is always the
same when using B-Format encoding, there are no phase issues, even when using multiple
microphones to record your impulse response.

Microphones for B-Format recording

The SoundField single point source microphone series is ideal as B-Format recording
microphones. These microphones contain all the capsules you need to make a complete
B-Format reference recording in one pass, and they include hardware to send the separate axis
streams to individual Impulse Response Utility tracks. You only need to swivel the mic once
toward each speaker position, and the mic and processing hardware do the rest. If you do not
have access to SoundField mics, Impulse Response Utility provides additional microphone
options for B-Format recording.

Capturing the W (sound pressure) signal requires an omnidirectional microphone. Capturing the
X and Y axis signals requires a microphone with a figure-eight pattern that captures signal from
the front and back of the mic. Therefore, with two figure-eight patterned microphonesone
pointed directly at the speaker source (X) and another positioned perpendicularly (Y)and an
omnidirectional microphone for the sound pressure (W), you can record each speaker position
in one pass. Be sure to arrange the microphones so that their capsules are as close as possible to
each other. Ideally, you want to have a single, tight point of reference for each speaker position.

You need to swivel each of the figure-eight pattern microphones to each speaker position. The
omnidirectional microphone does not need to be swiveled because it has a 360-degree capsule.

If you do not have three separate microphones, you can still create B-Format impulse responses
by recording each audio stream separately in Impulse Response Utility. All you need is a single
microphone that allows you to switch between omnidirectional and figure-eight patterns. You
will need to do a significant amount of pattern-switching and microphone swiveling, but it can
be done.

Chapter 4B-Format surround encoding 26