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Capturing reverb acoustically through room tracks

From: Foundations of Audio: Reverb

Video: Capturing reverb acoustically through room tracks

It's important to understand the tools and technologies we use for creating reverb. There are many of them so we break them down into three families, acoustic, mechanical, and digital. As the very idea of reverberation is born from room acoustics, we'll start there. Allow me to hit you with a bit of math. Here is Sabine's Equation for Reverb Time, which applies to all large sonically diffuse spaces. This equation quantifies how long it takes the room to decay to silence, or more specifically, how long it takes the level to fall by 60 dB, a significant reduction in amplitude and a decent proxy for silence.

Capturing reverb acoustically through room tracks

It's important to understand the tools and technologies we use for creating reverb. There are many of them so we break them down into three families, acoustic, mechanical, and digital. As the very idea of reverberation is born from room acoustics, we'll start there. Allow me to hit you with a bit of math. Here is Sabine's Equation for Reverb Time, which applies to all large sonically diffuse spaces. This equation quantifies how long it takes the room to decay to silence, or more specifically, how long it takes the level to fall by 60 dB, a significant reduction in amplitude and a decent proxy for silence.

Let's listen to a snare drum with 3 seconds of decay. (music playing) The Reverb Time is this constant, 0.05, times the cubic volume of the room, divided by the total sound absorptivity in the room. So we have two principal acoustic properties that we can adjust to drive Reverb Time. For a longer Reverb Time, we can work the top of this equation and seek out a larger room volume.

Big spaces are typically more reverberant than smaller ones. We can also work the bottom of this equation and make our space less sound absorptive. Removing sound absorptive materials or adding the opposite sound reflective structures will also stretch the Reverb Time. Concert halls for classical music are consistently large spaces, some 50 feet wide or more, over 100 feet long, and with a ceiling height of several stories above the floor. They're constructed entirely of materials that reflect rather than absorb sound.

In fact, only two types of sound absorption are found in a typical concert hall. The first is the air. Air absorbs sounds, however slightly, but it's hard to sell tickets to halls that have no air. The second absorber-- speaking of tickets--is the audience. So people and air are the necessary absorbers in a concert hall. The rest of the materials are stone, plaster, concrete, wood, steel, glass, and other similar hard nonporous materials offering high sound reflectivity.

Sound is reflected off these materials like light is reflected off of a white wall or a mirror. You won't find many sound absorptive materials such as carpets, curtains, and glass fiber panels in most concert halls, though they can tame the acoustics of the lobby and the stairs. When classical music is the goal for the space, the architecture also includes bumpy stuff on the walls and on the ceiling that help diffuse the sound. Sound is preserved, sustained, and scattered for a beautiful reverb quality.

(music playing) In pop recording, large reverberant spaces typical of classical music are the exception rather than the norm. In the studio we usually work in smallish rooms, with a tight acoustic quality that deliberately absorbs much of the sound energy in the room. (music playing) There are a few exceptions. If you happen to be working in a large room that's say big enough to park three or four cars, with more than a story in ceiling height, then you might be working in a room whose acoustic qualities are worth capturing.

When you're lucky enough to be recording in one of those grand studios whose great acoustics suite your tracks, plan to record the room. The typical approach these days is to still use close microphones on your instruments, getting all the benefits of close miking craft, but to augment those tracks with other more distant microphones. Send these faraway microphones to their own tracks, label these tracks room, and plan to mix them in with your close-miked tracks later. Most of the biggest recording studios still aren't quite as reverberant as a concert hall.

We utilize studio room tracks less for the long decay and more for the early part of the signal, when the sound is bouncing off all of the carefully designed sound reflectors and diffusers in the room. The best studio room tracks possess wonderfully complex, ear pleasing, early reflections that add excitement, energy, and size to the tracks in our mix. While our Digital reverb Effects Units can also synthesize an approximation of these spaces with their early reflections, there's nothing like the real thing.

Attentive listeners will hear the difference. In fact, medium and smaller studio spaces are often carefully designed with sound diffusive treatments offering up reflected energy that complements the audio, even though they aren't large enough spaces to ring on like a cathedral or an opera house. So when you notice you're in a great sounding room, it may not be because of the obvious long wash of reverb. Studio spaces often have very short decay times. Instead, listen for early reflections that are enhancing the sounds you hear.

In those cases you should mike up the room, capture that natural acoustic liveness, and take advantage of the many signal processing capabilities that they offer, and which we cover in the movie, Getting the most out of Room Tracks later in this course. Natural acoustic reverb makes it into our production through room tracks whenever we get the chance to work in a great sounding room. And there's another acoustic signal processor we can use in our projects, the reverb Chamber, which we discuss next.

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This video is part of

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Foundations of Audio: Reverb

39 video lessons · 8408 viewers

Alex U. Case
Author

 
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  1. 9m 41s
    1. Welcome
      1m 58s
    2. What you need to know before watching this course
      2m 18s
    3. Songs you should listen to while watching this course
      2m 46s
    4. Using the exercise files
      55s
    5. Using the Get in the Mix session files
      1m 44s
  2. 6m 44s
    1. What is reverb?
      2m 35s
    2. Why do we use reverb?
      4m 9s
  3. 24m 33s
    1. Capturing reverb acoustically through room tracks
      5m 33s
    2. Creating reverb acoustically through a reverb chamber
      2m 51s
    3. Creating reverb mechanically using springs and plates
      5m 8s
    4. Creating reverb digitally via algorithms and convolution
      4m 51s
    5. Optimizing signal flow, effects loops, and CPU resources
      6m 10s
  4. 39m 10s
    1. The anatomy of reverberation
      3m 8s
    2. Mastering reverb time, predelay, and wet/dry mix parameters
      5m 36s
    3. Understanding the frequency dependence of reverberation
      4m 56s
    4. Tapping into advanced parameters such as diffusion, density, and more
      4m 37s
    5. Reference values from the best orchestra halls
      5m 40s
    6. Hearing beyond the basic parameters
      5m 31s
    7. Touring the interfaces for six reverb plugins
      9m 42s
  5. 1h 32m
    1. Choosing the right reverb for each of your tracks
      2m 17s
    2. Simulating space with reverb
      5m 42s
    3. Hearing space in the mix
      6m 33s
    4. Timbre and texture
      3m 36s
    5. Shaping tone and timbre with reverb
      5m 49s
    6. Creating contrasting sounds for your tracks
      4m 43s
    7. Using nonlinear reverb to help a track cut through
      4m 25s
    8. Emphasizing the reverb using predelay
      3m 24s
    9. Strategically blurring and obscuring tracks
      1m 46s
    10. Get in the Mix: Changing the scene by changing reverb
      7m 37s
    11. Get in the Mix: Gating reverb to emphasize any track in your production
      5m 52s
    12. Reversing reverb to highlight musical moments
      9m 36s
    13. Synthesizing new sounds through reverb
      6m 42s
    14. Get in the Mix: Supporting a track with regenerative reverb
      6m 31s
    15. Getting the most out of room tracks
      17m 39s
  6. 11m 32s
    1. Setting up your own reverb chamber: The architecture
      2m 2s
    2. Setting up your own reverb chamber: The audio
      4m 8s
    3. Using convolution correctly
      2m 32s
    4. Getting great impluse response
      2m 50s
  7. 1m 29s
    1. Next steps
      1m 29s

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