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I have impulsed a number of ways. Balloon pops, belt snaps and tone sweeps through speakers.
I like the speaker sweeps the best. Sound Forge comes with acoustic mirror and you can find the tone sweeps on their site. Acoustic mirror can deconvolve after you record the sweep.
Voxengo deconvoler is another great one that you can even batch process. It can also ...
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Soundhack..
http://www.macupdate.com/app/mac/5891/soundhack
Old school bit of kit. The dude that programs it is awesome too real friendly guy. User manual can be found here
http://emu.music.ufl.edu/sndhckdoc/SndHckDoc.html
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If you haven't already, read this:
http://designingsound.org/2012/12/recording-impulse-responses/
Some great info in there.
I don't actually use TL Space, but I believe you can load impulses into TL Space in .Wav format? At least that's what it says in the manual. OSX has the impulse response utility built into it - have a look in Applications/Utilities ...
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agree with Danny.Q, soundhack is the way to go provided you have access to an OSX machine.
If you have access to max/MSP you might want to look at this http://www.cycling74.com/docs/max5/refpages/msp-ref/buffir~.html object (see the example near the bottom).
I have recently completed a series of command line programs that do sample by sample convolution ...
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LA Convolver... free and useful AU: http://audio.lernvall.com/
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I echo (LOL) Tim's recommendation but also suggest the use of Crystalizer after using an LFO. Available for Logic Pro. I also recommend warping and oscillating the pitch a few different ways and then running it through the LFO and Crystalizer in layers at different settings. It should give you a less electronic and more natural thick bubble sound based on ...
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Theoretically, the "bang" is suppose to produce a perfectly instantaneous amplitude peak. If you convolve a signal with your full impulse response, you will get the original signal mixed with its reverb in the recorded space, which is what is expected usually.
But you can experiment with fading a very small part of the beginning of your impulse response and ...
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Recording 4 impulse responses for 2 playback channels is confusing. You could easy use a 2 channel impulse response to create a 2 channel playback signal. If you get a more detailed look, you will realize that you have with a 2 channel IR 'only' signal from hard left and hard right. But in a mix, you have signal from right which goes to the left channel an ...
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There are plug-ins that handle this for you (DUY Magic Spectrum...though Zynaptiq's Unfilter can do a decent job of it as well). They, and nearly every other technique almost requires that good technique was used on both pieces of audio. The only sure fire way to come close is to figure out which one sounds worse (direct to reverberant ratio, noise, ...
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Normaly it is a combination of EQ, De-essing and Reverb.
It is normaly easier to Turn the higher quality One (close) into something worse. Adding mids and removing lows and highs will make it appear further away. By damping esses and Breath you Remove close mic-ing effects.
After that you can try some reverb with focus on early reflections to make it more ...
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I'm not familiar with reverb specifically, but from my general knowledge of signal processing, since you haven't gotten an answer already:
I expect that “LR” and “RL” are “the sound of an impulse emitted at the left position and heard at the right position” and “the sound of an impulse emitted at the right position and heard at the left position” — which is ...
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The best thing you can do when engineering ADR performances & matching source is to use your ears, but it takes the time and effort of experience to develop them in to a tool.
As far as how to use them, EQ - and capture it properly in the first place - use location notes for mics used and look at pics for where the boom op will have snuck in under the ...
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if you use multiple short grain delays you'll get exactly what you're looking for.
https://soundcloud.com/standingwave/everyday-06-23-13-voice-vocal
all the sfx during the first half were multiple short delays with high feedbacks and varying grain size settings.
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I'd try some grainular fx. GRM Shuffle would get you there or the Grain Delay stock in Ableton.
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The pfft~ object it Max/MSP makes this very simple.
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I would say you could try a vocoder, or better yet, this is what I would experiment with.
Set up a long track with whispers and get your whole atmosphere going, right? so on its own it's just a crazy track of whispers and delays and mess.
Then, set up your other track which would be the "trigger" for lack of better wording. On your whisper track, set up a ...
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I used a glass hit as an impulse for fish in a fish tank POV.
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Not an IR, but a great library to help create the mood
http://www.tonsturm.com/files/d7b786b29f6e37689f7c0f8ea7a705b5-21.html
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Just me, but I tend to go to vocoders when I want a Dialog Effect (like something special for a mechanical character). I think it's a leftover from the days of the original Battlestar Galactica and the vocoded Cylon voices which I thought were AWESOME as a youngster.
Convo I tend to use for SFX more, and specifically interesting ambiences. On one animated ...
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may be this video will help you, http://www.youtube.com/watch?v=6b3B5AMaoaM ?
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The quality of the convolution can depend on a lot of factors. IRs are meant to sample a space over time. With something like a synth, the change of frequency content over time would probably be less important (compared to a reverb). I have found that chopping the length of the sample to a few milliseconds (or tens or hundreds of milliseconds) can result in ...
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