隨著數位錄音和混音的發展，音訊工作者們會因為前期收音條件的侷限和對後製工藝多樣化的展望，去探尋更多新的技術手段，脈衝響應(Impulse Response)在聲學和數位音訊中的應用則是近幾年受音訊工作者關注度越來越高的主題之一。脈衝響應最早被應用在殘響模擬中，從真實場景採集的脈衝響應可以在後期製作中透過音訊合成，使錄音室錄製的聲音還原某個真實聲場的效果。近年來脈衝響應的應用範圍逐漸拓展到電吉他音箱模擬技術中，走進了音樂工作者們的視野，音箱模擬也成為電吉他相關軟體和硬體產品中必不可少的功能。
本研究以脈衝響應在殘響模擬中的應用為例，設計電吉他音箱脈衝響應的採集實驗並進行實際採集，將不同採集方法的結果進行頻譜分析和比對，利用音訊合成評估音箱模擬的成效，進而探究針對電吉他音箱脈衝響應較佳的採集方法，以及音箱模擬在音樂錄音及後製中降低時間和經濟成本、豐富製作手段等實用價值。

With the development of digital audio recording and mixing, sound engineers and audio professionals are exploring more new technical means, due to the limitation of recording and more diversified expectations of post-production process. The application of impulse response in acoustics and digital audio is one of the topics that has received increasing attention from audio professionals in recent years. Impulse response was first used in reverberation simulation. The impulse response captured from real-life scenes can be synthesized with any sound in post-production, so that the sound recorded in the studio can restore the effect of a real sound field. In recent years, the application of impulse response has gradually expanded to electric guitar cabinet simulation technology, entering the vision of musicians and music producers. Cabinet simulation has also become an essential feature in electric guitar-related software and hardware products.
This research took the application of impulse response in reverberation simulation as an example, by designing and carrying out the capturing experiment of the impulse response of an electric guitar speaker cabinet, using spectral analysis to compare the results from different capture approaches. This study also evaluated the quality and effectiveness of cabinet simulations using sound synthesis, to explore better capturing approaches for the impulse response of electric guitar cabinets and the practical value of cabinet simulation in music recording and post-production, such as reducing time and economic costs, and enriching production methods.

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