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The significance of reverberation in acoustic spaces, discussing its relationship with normal modes, modal density, and decay rates. It also covers the challenges of measuring reverb times at low frequencies and the concept of acoustically and electro-acoustically coupled spaces.
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Reverberation Detail (chapter 7, Everest)
1. FYI: a. Reverb was once considered the single most important characteristic of a room. This is no longer the case it is only one of several important characteristics describing the acoustic qualities of a room. 2. Reverberation and Normal Modes a. If you measure TR using sine waves at low frequencies, one finds longer TR at various frequencies corresponding to normal modes of the room e.g. fig 7- b. The peaks in the graph are not representative of the average properties of the room. The idea of a single reverberation time of a room assumes i. High modal density 1. Lots of modes near each other in frequency 2. Consequences of high modal density a. Uniform distribution of sound energy b. Random direction of propagation.
3. You don’t get high modal density for a small room below, 500 Hz ( or higher) ( 4. Thus people rarely speak of a “reverberation time” for a small room Instead you may hear of a “decay rate” e.g. 20 dB per second. 3. Measuring Reverb Time a. Lets revisit the sound arriving at a listener as a function of time b. …bunch of crap I didn’t type here… 4. Mode decay variations. a. Reasons why its harder to get reverb times for low frequencies than high frequencies. i. Harder to make loud for low frequency noises ii. Often noise floor is higher at low frequencies (A/C units, Seismic noise) iii. Mode decay variations can make fitting a line to the decay more difficult than for highs. iv. Low frequencies tend to imply lower modal density 1. Density: how close the modes are together 5. Modal Decay Variations a. If you record multiple decays you’ll find that they look similar, but the “wiggles” are different for each one. (This is a bigger effect a low frequencies than high). When you cut off the random sound sources at the moment a particular set of modes were excited. This set is different each time you record a new decay (Because source is random) b. Typical Measurement Procedure i. 3 mic positions ii. 5 decays per position iii. 8 octave bands per decay 1. (e.g. centered around 63 Hz, 125 Hz, 250 Hz, 500 Hz, 1 KHz, 2KHz , 4 KHz, 8 KHz) 2. This is done by filtering the decay into different octave bands. This also helps with signal to noise ratio. c. Frequency Effect i. Wiggles in the decay rate will be larger with lower frequencies. High frequencies have smaller wiggles. d. Acoustically Coupled Spaces i. Acoustically coupled spaces 1. e.g. a concert hall with doors open to a marble-lined atrium. e. Electro acoustically coupled spaces i. Sound is recorded in one room (with some reverberation time TR) ii. Then is played back in another room with different reverberation time, or even the same room iii. In general, The reverberation time of the listening room should be a little more than the reverberation time of the recording room.