Behind the Kernel (#5 - May 2012)

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Behind the Kernel (#5 - May 2012)

Post by enriquesilveti » Wed May 23, 2012 10:14 am

Rémi Gerard from Room Hunters interviewed

Acustica Audio: How did you know about Acustica Audio and Nebula?

Rémi Gerard: If I recall correctly. probably looking for a cool hi shelf and I tried
Angel Hi, was very impressed, then the Doc Fear and was absolute love.

Acustica Audio: Which feature you look into room before get sampled?

Rémi Gerard: If she's pretty and if she's sweet. the TOL for example is a tall and
tight lady, an absolute muse for a rash snare.

Acustica Audio: How you handle the recording sessions for The Theater of Life?

Rémi Gerard: The logistic part was a bit of a pita, however everything was somehow
prepared. The sampling did involve 4 peoples for 48 hours. We spend some time trying different sub woofer combinations, but wasn't very satisfied, we did go speaker alone, because it felt a lot more clean. We find the good level for the sweep (from reaper) to keep the signal clean from a low THD preamp.

Acustica Audio: How you handle the noise during the sampling process?

Rémi Gerard: The room was well isolated from background noise. However we've listened all samples very loud from another room with an automated notch adjusted to the frequency of the sweep while we recorded it, we had also some frequency analyser. If a sample didn't feel to be quite enough to be accurate (some light rumbling, wood cracking of the bench, the sound of a switch of the cooling system), we just did it again. We were maybe a bit too worried about S/N ratio so we spend more time that expected on
the sampling. We had planned another distance from which the TOL would appear more wet, but hadn't time to do it. So TOL library is half of what it should have been. However it was a very though job to release it properly.

Acustica Audio: Talking about sampling gain level versus file size. Do you think that spend more than one sample (IR) can audible improvement compared with static IR?

Rémi Gerard: Our aim was to process drum. It was sampled with some really cool preamps. We really wanted something like a "close miked drums to ambiance" processor. In this perspective, Nebula is better than an IR, which can not replicate the meaning of distortion in most rock sound recording, for example. An additional saturation after an IR is still different than having the distortion of a specific preamp, because of a specif sound pressure level with a specific microphone. It may be different for clean presets which are discrete class a preamps, tuned very clean. We still sampled 4 levels, but more to have a kind of random distribution between IRs.

Acustica Audio: Will be other real room sampled soon?

Rémi Gerard: No way something will happen soon.

Acustica Audio: Will room hunters also sample gear or chains in the future?

Rémi Gerard: TOL is a collection of gears/chains in an acoustical context. And if someday something will happened, it's likely it will be this way.

Acustica Audio: Which studio configuration do you use. ITB, OTB or Hybrid?

Rémi Gerard: Hybrid.

Acustica Audio: Do you use external DSP processing?

Rémi Gerard: No. Well yes, digital fader for 5.1 monitor.

Acustica Audio: Did you have formal study in audio engineering?

Rémi Gerard: Yes, but the best way to learn is to do. The even better way to learn is to mix with a revelant room/monitor combo. Then all you have to do is to keep learning.

Acustica Audio: Do you think that audio engineering is better today?

Rémi Gerard: No. Each audio engineer has a space time curve. The man behind the machine has the last word.

Thank you Rémi Gerard from