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Entries found for search: reverb

reverberation time : The time of reverberation is defined as the time it takes for the SPL to decay to one-millionth of its former value, a 60dB reduction, hence called the RT-60 of the space. Also called decay time.

reverberation : The decaying residual signal that remains after a sound occurs, created by multiple reflections as the original sound wave bounces off walls, furniture, and other non absorptive barriers within a room or other acoustical environment. Reverberation contains the same frequency components as the sound being processed, but no discrete echoes. An average club has a natural reverberation time of about a half-second; many concert halls and auditoriums have a natural reverberation time of two seconds or more. A room with very little reverberation is called a dead room, which is the opposite of a live acoustic space which is very reflective. Reverberation is composed of early reflections and later reflections.

High-frequency sound waves have to cause the surrounding air molecules to vibrate quickly enough to pass the sound energy onwards, consequently high-frequency reflections die out faster than mid-frequency or bass reflections. Also, high-frequency sound is more readily absorbed by soft furnishings. Low-frequency sounds are only reflected by large and heavy objects, so there may be very little low-frequency reverberant sound. However, in larger rooms, there can be substantial bass build-up.

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gated reverb : The use of a noise gate to cause a sudden termination of a reverberation effect, without allowing the normal decay segment to complete. This gives the sound an unnatural, industrial timbre.

spring reverb : An electromechanical effects device that uses springs to simulate natural room or hall reverberation. Spring reverbs work basically like plate reverb systems, but are muchk smaller and produce an inferior effect. A transducer sets up vibrations in the spring which rattles back and forth, extracted by a pick-up at the other end. The character of a particular spring reverb unit is fixed (other than wet/dry balance), but can be optimized for the sound source at the design stage by careful choice of the number, length, diameter, and compliance of the spring(s). Also called a spring-line reverb.

reverberator : A device for the generation of synthetic reverberation, either analog, such as a plate or spring reverb, or a digital effects processor which simulates the reverberation according to various parameters such as room size (small, medium, large) and room type (club, cathedral, studio).

reverse reverberation : A digitally simulated effect whereby a sound envelope is created by the usual attack, release, and sustain stages, but the decay portion of the envelope is purposely reversed so that the reverberant sound increases in amplitude, rather than naturally decreasing.

reverberant field : In a room with reverberation, if a listener is close to source of sound, the direct sound will predominate, and the listener is said to be in the direct field of the source. At greater distances, the reverberant energy will predominate, and this region is called the reverberant field. See also free-field, near-field, far-field, decay.

reverb : A type of signal processing effect which produces a continuous wash of echoing sound, simulating an acoustic space such as a concert hall. See darkness, reflection, echo, DSP.

reverb plate : See plate reverb.

reverb spring : A spring which is used to produce reverberations. One transducer causes it to vibrate and the reflected wave motions are picked up by other transducers.

plate reverb : An electromechanical substitute for an acoustic reverb chamber, where electronically generated reverb was unavailable, whereby a metal plate was suspended behind the sound source, fitted with a transducer and microphone pick-up. The plate was typically 4’ by 6’, suspended on springs within a sound-deadening case as a reverberant space. A vibrating transducer feeds the direct sound into the metal plate, and a pair of pick-ups extract the reverberation as vibrations bounce off the plate’s edges. A motorized damping plate parallel to the main plate can be remotely positioned at varying distances to control the duration of the reverb. The plate has a characteristic metallic, bright sound. Other substitutes were spring reverbs and slap echo devices.



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