Yamaha S Rev1 Supplementary Manual
Yamaha S Rev1 Supplementary Manual

Yamaha S Rev1 Supplementary Manual

Sampling reverberator
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SREV1 Sampling Guide
An Introduction to Impulse-response Sampling with the
SREV1 Sampling Reverberator

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Summary of Contents for Yamaha S Rev1

  • Page 1 SREV1 Sampling Guide An Introduction to Impulse-response Sampling with the SREV1 Sampling Reverberator...
  • Page 2: Table Of Contents

    1 Introduction ......2 What is Sound Field Sampling? ........2 What is Convolution? .
  • Page 3: Introduction

    Introduction 1 Introduction This document provides a basic explanation of sound-field sampling, and a tutorial by which you can actually sample a sound field and audition it on the SREV1. For more detailed information on the SREV1, IRSampler, or IREdit, please refer to the relevant documentation.
  • Page 4 As you can see from the following diagram, sound-field sampling consists of “firing” SREV1 test pulses into an acoustic space, thereby energizing the reverberation in that space, which is then picked up by a number of microphones and returned back to the SREV1 for processing.
  • Page 5: What Is Convolution

    What is Convolution? Convolution is a technique for imposing the characteristics of one signal onto another. What the SREV1 does is to convolve the reverberation characteristics of a previously sampled acoustic space (i.e., its impulse-response) onto another audio source, produc- ing the same overall sound that would have been heard had the audio source actually been heard in that acoustic space.
  • Page 6: What Are Impulse & Tsp Signals

    What are Impulse & TSP Signals? The SREV1 can generate two types of test signal. First we’ll take a look at the impulse signal. As explained earlier, an impulse has a very short playback duration and a flat response at all frequencies. You can acquire impulse-response data by using an impulse signal, but you can achieve a better S/N performance by using another type of signal, which we’ll talk about later.
  • Page 7: What Equipment Is Necessary

    What Equipment is Necessary? In order to perform sound-field sampling, you’ll need microphones and microphone preamps to pick up the sounds, speakers and power amps to output the test pulses, and the necessary connecting cables. Of course, you’ll need the SREV1, and depending on the type of I/O being used, you may also require A/D and D/A converters to get signals in and out of the SREV1.
  • Page 8: Sampling Tutorial

    Sampling Tutorial 2 Sampling Tutorial Assuming that you’ve set up your speakers and microphones and connected your PC to the SREV1 (see page 17 for hookup examples), you’re now ready to “fire” a few pulses and “grab” some samples. We’re assuming that SREV1 I/O is being taken care of by MY4-AD and MY4-DA cards. If you’re using external A/D and D/A converters, your IRSampler I/O assignments will need to be a little different to those specified later.
  • Page 9 Configuring IRSampler Sampler (Generator/Trigger window) Set Averaging to “8” Set the Sampling Time to “4500” msec (i.e., 216000 samples) Generator Output Assign (Generator/Trigger window) Assign the Generator Output to “Slot2-1” Trigger Output Assign (Generator/Trigger window) Assign the Trigger Output to “Slot2-2” Input Assign (Generator/Trigger window) Assign the Sampler Inputs as follows: Channel 1: Slot 1-1...
  • Page 10: Checking The Generator Output

    (The title is saved in the file header.) Enter a filename in the Save As dia- log box and click Save. By default, data is saved in the “irdata” (c:/yamaha/irmec/irdata) folder on the PC Card in TM4 format. (A “.tm4” file extension is added automatically.) Taking Several Samples While your sampling system is setup, it’s a good idea to take several samples at various...
  • Page 11: Using Your Data On The Srev1

    PC Card. So the first thing you need to do is to make a new folder called “data” in “x:\yamaha\srev\” and copy your acquired data into it, something you can do on your PC. (Note that “x” refers to the letter assigned to your PC Card while it’s inserted in your PC.)
  • Page 12: Data Editing

    3 Data Editing If you use your samples as they are, you may experience the following: • A roaring sound at the end of the reverberation. • An unwanted delay at the beginning of the reverberation. • Direct sound in the sample is making it unusable. •...
  • Page 13: Fixing The Roar

    Fixing the Roar Fixing the Roar As the reverberation decays, the extraneous noise captured in the impulse-response data becomes relatively louder and can create a roaring sound. This can be seen clearly in IREdit by setting the vertical axis to dB. This issue can be resolved by fading out the extraneous noise at the end of the sample, so that the reverberation decays naturally.
  • Page 14: Removing The Delay At The Beginning Of The Reverberation

    Removing the Delay at the Beginning of the Reverberation Your impulse-response data may contain a spatial delay at the beginning due to the time it takes the pulse to reach the microphone from the speaker. In some cases this may be a hindrance and can be deleted by using the IREdit Cut function.
  • Page 15: Deleting The Direct Sound

    Deleting the Direct Sound Deleting the Direct Sound In addition to reverberant sound, the acquired data typically contains direct sound that reaches the microphones directly from the speakers. In order to use the Reverb Balance parameter, or to create a mix of dry and wet signals on your mixer, it’s best to remove the direct sound component, which you can do by using the Cut function of IREdit.
  • Page 16: Adjusting The Reverberation Level

    Adjusting the Reverberation Level Adjusting the Reverberation Level If you use your samples as they are, you may find that the reverberation produced is too loud relative to the input signal. This can be resolved by editing the header information with IREdit.
  • Page 17: Specifying The Reverb Time & Start Point

    Specifying the Reverb Time & Start Point Impulse-response data files (i.e., TM4 format files) do not specify a reverb time value, so the SREV1 automatically calculates values for the reverb time parameter that is used by the RC-SREV1. This is based on the length of the sampled data, not the length of the file.
  • Page 18: Hookup Examples

    4 Hookup Examples MY4-AD/DA I/O System The following example shows a typical SREV1 setup for sampling a hall. Analog I/O on the SREV1 is provided by MY4-AD and MY4-DA cards. The trigger source is set to internal. The generator output is assigned to SREV1 Slot2-1. From there it’s fed via a power amplifier to the speaker system.
  • Page 19: Aes/Ebu I/O System

    AES/EBU I/O System The following example is essentially the same as the previous system, but with separate A/D and D/A converters connected to the SREV1’s onboard AES/EBU I/O. AES/EBU SREV1 AC IN DIGITAL (AES/EBU) AES/EBU Mic Preamp Power Amp Hall SLOT SLOT MIDI...
  • Page 20: Sampling With A Digital Recorder

    Sampling with a Digital Recorder Sampling with a Digital Recorder Instead of sampling directly to an SREV1, a digital recorder can be used. This may be more convenient than using multiple SREV1s to sample four or more channels. Digital recorders are ideal for recording fluctuating waveforms, such as acoustic reverberation, since they provide the kind of simultaneousness across tracks necessary for accurate averaging.
  • Page 21 Step 2. Recording on Location At the location the pulses previously recorded on track 1 are played back, while the responses picked up by the microphones are recorded onto tracks 3, 4, and so on. Power Amp Hall Step 3. Sampling into the SREV1 The final step is to sample the recorded responses into the SREV1, using the trigger sig- nal previously recorded on track 2 to trigger sampling, as shown below.
  • Page 22 YAMAHA CORPORATION Pro Audio & Digital Musical Instrument Division P.O. Box 3, Hamamatsu, 430-8651, Japan...

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