103 Royalty-Free Audio Tracks for "Impulse Response"

Sonido convolucionado. Sonido original: https://www. Freesound. Org/people/viliguis/sounds/392288/.

Some chords with an impulse response from a pcm 70 reverb.

Pulse responses from great british spring reverb processed with equalizers, tube preamps and compressed with analog tape.

Convolution with the impulse response of the 3r floor from pompeu fabra university (poblenou, barcelona) and https://www. Freesound. Org/people/inspiredfunk/sounds/66352/.

This is a 24-bit 44. 1khz impulse response recorded at the very acoustically interesting notre dame in new york city. The stereo x/y mics are oktava small-diaphragm microphones running into a sound devices 702.

Impulse response recorded in a cornish paddock meters from the megalithic portal of the hendraburnick quoits. I can hear the ley lines now. .

Impulse response recorded in the mediterranean conference centre. Valletta, malta. In the knights hall. A medieval hospital used by the crusaders. Main concert venue was too impractical to record an ir but the long cavernous knights hall was empty so hey. . . Let's sweep. .

Tube spring reverb unit compressed on the tape.

An impulse response, made with vital softsynth, simulating the responce of a bunch of strings tuned to notes of bohlen—pierce scale. Specifically, a middle ground between 13 equal divisions of a tritave (interval 3/1) and the just-intonation bohlen—pierce scale. (for no particular reason. ). Convolving with this might add some xen flavor to your sounds, even if you play in standard tuning 12edo. I tried it with surge xt’s hammered dulcimer patch (i love hammered dulcimer!) and heard some additional shimmering.

Impulse response file for use in convolution reverbs. I recommend convology xt by impulse records, free and easy to use. Recorded in a glass box of a hotel shower. And we all know glassy resonant shower reverb is the best. Recorded with a sony d100. Self-reminder to bring more balloons next time.

A balloon burst at the front of the stage in bristol colston hall, recorded from the front of house mixing position. A useful impulse response even though the acoustics are notoriously troublesome in that hall. Thought i'd capture it before it's rebuilt and lost forever. .

Honestly, this is one of the coolest things ever. Just drag this impulse response into your ir reverb plugin and it will make everything sound like it's in a space suit / glass helmet. Really handy for an astronaut speaking, for example. I bought a massive, round, glass fishbowl to record this. Recorded with a zoom h4n. If you are as blown away as i was with this, give me a sub and like on youtube!. Fractanimal.

It’s a mix the 80s gated reverb and the fisher k10 stereo (gated), this is an experiment that i did combining a thicker reverb with low frequency, with an impulse response from a 60s spring reverb unit, which brings a movement nice in the mix.

Impulse response file for use in convolution reverbs. I recommend convology xt by impulse records, free and easy to use. Recorded in a glass box of a hotel shower. And we all know glassy resonant shower reverb is the best. Recorded with primo em172 omnis plugged into a sony d100. Self-reminder to bring more balloons next time.

Can be used as a body or any heavy item that is not metel or anything hard.

Were experiments with algorithmic reverb, trying to create the reverb style used in the 80's.

This sound is a 1-sample long impulse at 48 khz. It covers the whole frequency range with equal power. This is a perfect sample for exciting your guitar amp or reverb unit to capture it's impulse response (ir). You can also play it through a speaker in a reverbant room to capture it's reverb characteristics. Remember that the ir sample will be no flatter than your speaker's performance multiplied by your microphone's performance (frequency response characteristics). The sample has exaclty 1 second of silence, then the impulse, then another second of silence to ensure the impulse will be played clean and untruncated on any sound system or device. My test with ir lv2 convolution plugin have proven, that this sample has absolutely flat frequency response - convolved signal was identical to the source signal. After normalization and sample-alignment of the sound clips i have inverted the polarisatin of one of them and summed them - result was absolute silence, even no hiss was present as a result. This shows the accuracy of the convolution process and proves this sound to be perfect for sampling ir. The impusle was generated with c* dirac ladspa plugin. Created using audacity.

A slinky spring toy stretched out and plucked once from the end, recorded with a zeppelin design labs cortado impedance-matched piezo contact microphone. The resulting recording is a classic spring-based sci-fi "laser sound" with a massive, lengthy, rumbling decay tail. This was recorded at 24 bit 96 khz. In addition to its use as a sound effect, this waveform works well inside a convolution reverb as an offbeat spring reverb impulse response, provided one has the processor power and ram to support a 2 minute 13 second convolution. The cortado's bass response is exceptionally large for a contact mic, so high pass filtering may be desired if used as an impulse response.

I made changes in the impulse response of the fisher k-10, i used a demo of the fisher spacexpander on youtube that had a warmer sound, i did eq match using small sections of the video where the audio is dry or wet, i did this sin several times and the result was fantastically similar. The reference used: https://youtu. Be/17x9fqbjbfw.

Ir recorded a long time ago in the waiting room at hayes and harlington railway station. Another one i'll never use but someone might. .

For those who like a vintage sound, this impulse response tries to be the most faithful in the type of spring reverb used in the 60s, on vocals, on guitars, and mainly as a mixing reverb as an alternative to plate reverb if do you want the sound of a garage rock or dub. Depending on the context, you can leave the reverb in mono which reinforces the vintage character.

Example keys processed with ir dbl ms verb first dry then wet then wet stretched.

Reverbed and reverbed until there was just some kinda sounding rumbles up in the infinite space. Edit:corrected title, kinda, according to gauravnema kind and much appreciated attention.

A recording of an air rifle being shot in a valley. Recorded on a zoom h4n pro about 5-10 metres in front of the barrel, facing away from the rifle. Edited in audacity. I love the crackle as the shot breaks the sound barrier. Could be slowed down to make it sound like a larger weapon, or maybe even used as an impulse response. I have also uploaded the unedited version in case you want to apply your own effects: https://freesound. Org/people/fission9/sounds/466311/. Recorded 14/04/19.

Nottingham royal concert hall. Balloon burst at front of stage and recorded from the front of house mixing position. Might sound good for orchestras but rubbish for rock bands. .

Balloon burst in trafalgar street underground car park in brighton. A fun but pretty useless reverb. Almost triggered a terror alert recording it. Be careful where you pop balloons!. .

Ir recorded in a uk red telephone box. Originally recorded with a full sine sweep but uploaded as a processed spike. Some nasty stuff around 280/300hz but hey, that's a phone box for ya. .

A couple of ir from a field recording at carnarvon gorge amphitheatre, a very subtle sandstone acoustic, not a big reverb, but warms up a flute nicely. . . . This place is an ancient aboriginal initiation site.

A couple of ir from a field recording at carnarvon gorge amphitheatre, a very subtle sandstone acoustic, not a big reverb, but warms up a flute nicely. . . . This place is an ancient aboriginal initiation site.

Electro-acoustic guitare loop in c dorian. 115bpmit doesn't encompasses the effect of the soundboard. You should apply (convolve) a guitar soundboard impulse response to this sound to make it sound more natural.

This is a sum of two units, a digital reverb ams rmx16 and spring reverb fisher k10 with gate, this was an experiment i wanted to do and by the way, it worked well.

Este sonido es la respuesta impulsional de una habitación rectangular (no vacía) de 11 metros cuadrados. Está generada a partir de una grabación de un sweep en dicha habitación, convolucionado con la inversa de dicho sweep. Empieza a partir del segundo 10.

A heavy thunderstorm, mid-afternoon, after a long heatwave. The third and last lightening strike was about 100 meters from the microphone. You can just about hear the click (impulse response) of air being ionized just before the thunder.

These are taken from my modded behringer bg412s from 2004. I know this is one of the most hated cabs in the world but i gave it 2 celestion vintage 30s. The top speakers are in an angle to the outside. . . So you get something different. It really is a awesome heavy plywood cab. . . No chipwood crap. The irs are mix ready and should deliver a brutal sound. Even: mix ready universal full sound sm57balls: a bit more whoosh sm57brutal: a bit more scooped sm57bruzl: evil black metal shred pyle pdmic75. Have fun!.

Sample-looped sound of a forcefield. Generated by zynaddsubfx using fm synthesis and then applying a custom-created impulse response sample with convolution reverb procesor (ir). Captured, edited and normalized with audacity.

A recording of an air rifle being shot in a valley. Recorded on a zoom h4n pro about 5-10 metres in front of the barrel, facing away from the rifle. This is the unedited version (albeit slightly trimmed) for those who wish to apply their own effects. You can find the edited version here: https://freesound. Org/people/fission9/sounds/466310/. Recorded 14/04/19.

Sonido de saxofón tocado dentro de una habitación. El sonido está generado a partir de un sonido limpio de saxofón convolucionado con la respuesta impulsional de una habitación particular. Saxofón: https://www. Freesound. Org/people/hockinfinger/sounds/388055/. Respuesta impulsional de la sala: https://www. Freesound. Org/people/orioln23/sounds/393476/.

O2 shepherd's bush empire. Balloon burst from front of stage, recorded from front of house mixing position. . . And if you've ever been there that's not very far at all. A venue with a very long history and an ir worth having in any collection, even if you never use it. :-). .

The giant 1000 liter wine tank at red maple vineyard in the hudson valley - west park, ny. This sounds amazing for "old vocals"a very springy plate tank reverb. Complex and colorful. White and pink noise was played through two speaker exciter transducers attached the outside of the tank. 12gaugemicrophones black212 blumlein microphone inside the tank into behringer xr18, logic pro. Feel free to use as you like but please do mention the source if you can. @manysounds.

Hi guys, i'm back. For years i haven't uploaded any sounds except my news themes, (thanks to you for your nice comments and thousands of downloads)now i give you an impulse response i made to check how my mixes would sound on a typical living room audio setup (but listening with headphones). The chain: technics hifi-system, multi-cone speakers, audix reference microphone, focusrite preamps. To use it like intended, just load this file into a convolution plugin in your master insert. You'll hear your mix like sitting. . . Well. . . In my living room. It'll sound muffled to you, that's because i captured the ir and all the reflections with an omni-directional mic and i have thick curtains ;-dof course it can be used as a really, really nice and natural-sounding ambience ir, too. Use it as an aux-reverb).

This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 70 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

The same as my other fire whoosh sound, but i used a hi-pass eq at the 50hz mark to take out some of the "mud. ". --. This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 165 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

Warning! loud noise! this sound is not intended to listen to, but to do technical measurements!. This is a test recording i made to measure my headphone's frequency response. It plays a nice "left" and "right" to determine the channels. Then it plays back white noise first in both channels, then one at a time. Then the same with sine sweeps. Then short impulses.

Just some recording of a dried, brittle chili pepper with little seeds inside - up way way close to the mic (a zoom h2n). Some suggested sound design use cases: run this through granular fx for a nice drone texture. Use as an impulse response for a convolution reverb (then run tones through the convolution). Use as a trigger in vcv rack, allowing it's peaks to fire off samples or synth pulses. Or just use it plain within your next experimental acousmatic piece hit single.

This is a collection of "small room reverb" impulse responses that i sampled in a new england home known as butternut lodge, built and owned by actress bette davis back in 1940. It consists of all wooden rooms with many non-parallel surfaces, rugs and furniture and includes 3 round-shaped "silo" rooms! these rooms sound clean and do not have the irritating "ping" of many rectangular rooms. Short history/pictures of butternut (https://www. Airbnb. Com/rooms/24692769?source_impression_id=p3_1659215694_liuasyfxoceab5fn). Although these round shapes (and some of the other very small rooms) could potentially wreak havoc with phase at specific frequencies when summed to mono, i recorded this using the mid/side mic technique; therefore, the "side" channels fully cancel out, leaving a clean monaural reverb signal. These irs are stored as flac files. They can be used directly by any daw without conversion and have the added feature of being id3 tagged with a photo of the room each ir is taken from. After downloading, select view -> large icons in the folder to view the rooms. I sampled each room using a swept sine wave into a jbl flip 6 bluetooth speaker; recorded through a tascam tm-st1 m/s stereo microphone, feeding a tascam dr-07 recorder @ 24-bits 44. 1 khz and deconvolved using reaper. As of this post, i've been using these rooms for about 2 weeks. So far, i've found the "garage" to sound fantastic on drums! the drum sound! also, many of the other smaller rooms have a great effect on guitars, keys, and hand percussion. Each room varies in tone and brightness, so i've found that selecting/tuning the reverb send works well if approached like an eq. Increase the effect send until the instrument "feels" right (then perhaps back off slightly). A close-miked acoustic guitar, for instance, will take on a nice brightness and 3-d quality; not particularly reverberant, just big. At that point, i recommend applying any eq, compression, and bigger-sounding reverb effects. Hopefully you enjoy this. Please let me know how you like it and if you have any suggestions. Cheers!. Ken.

Studio technologies - stereo simulator (generation ii). Https://studio-tech. Com/products/generation-ii-stereo-simulator/. The generation ii stereo simulator from studio technologies creates a convincing stereo imagefrom a mono audio source. The fully mono-compatible signal simulates space withoutreverberation by using random, non-recursive filter techniques. The mode switch (found on the hardware unit) controls the overall sound of the generation ii. In the music position, the full audio bandwidth of the input signal is simulated. This mode isappropriate for audio material with little or no voice-only content. In the music & voice position, the input signal is sent through a band-reject filter prior togetting sent to the simulator circuits. This creates stereo simulation over the low and highfrequency range, while limiting simulation in the voice band. This mode is appropriate for audiomaterial that contains voice-only content, such as a film track or television show. The stereo intensity control determines the amount of stereo simulation that is produced. Inthe fully counterclockwise position (ir files “0” – included for process comparison), no simulatedstereo is produced. The mono input signal is sent equally to the left and right outputs. As thecontrol is turned clockwise (ir files “1 – 6”), the amount of stereo simulation increases.

Impulse responses of the forest in winter, taken from about 20 to 100 ft from the mic, made with firecrackers.

Impulse responses of the forest in winter, taken from about 20 to 100 ft from the mic, made with firecrackers.

Impulse responses of the forest in winter, taken from about 20 to 100 ft from the mic, made with firecrackers.

Impulse responses of the forest in winter, taken from about 20 to 100 ft from the mic, made with firecrackers.