Disciplines of Study [DoS]  >  Acoustics  ]

Reverberation is a result of multiple reflections. A sound wave in an enclosed or semi-enclosed environment will be broken up as it is bounced back and forth among the reflecting surfaces. Reverberation is, in effect, a multiplicity of echoes whose speed of repetition is too quick for them to be perceived as separate from one another. W.C. Sabine established the official period of reverberation as the time required by a sound in a space to decrease to one-millionth of its original strength (i.e. for its intensity level to change by -60 dB). However minimal, the reverberant quality of any space, whether enclosed or not, helps to define the way in which it is perceived. Although it may not be realised consciously, reverberation is one of many cues used by a listener for orientation in a given space. The ratio of direct to reverberated sound is also an important cue for the perception of depth and distance. Reverberation will also increase the ambient noise level and apparent loudness of sounds within a space, an important factor to consider in acoustic design.

Artificial reverberation is traditionally produced by means of a reverberation chamber or echo chamber, multiple tape echo, or more commonly, by exciting a metal spring or plate at one end, and picking up the delayed signal at another point. However, digital processing devices and computer techniques have been developed in recent years that allow a good simulation of naturally produced reverberation. These systems allow for a variable ratio of direct to reflected sound, and some include both global reverberation (i.e. reflected sound from all directions) and local reverberation (i.e. that coming from the direction of the sound source). (Source: Barry Truax - Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 - CSR-CDR 9901)



English - Español - Français - Deutch - Italiano

Alphabetical order - Chronological order

Blesser, Barry, Salter, Linda-Ruth (2006). Spaces Speak, Are You Listening? Experiencing Aural Architecture
Dodge, Charles, Jerse, Thomas A. (1985). Computer Music Synthesis, Composition, and Performance
Geslin, Yann (2001). Le studio 123
Haas, Steve (2004). Active Acoustics: Defining One’s Private Acoustic Environment
Keane, David (1980b). Tape Music Composition
Mion, Philippe (2001). {La grotte}, extrait de {Hétérozygote}
Risset, Jean-Claude (1996b). Real-World Sounds and Simulacra in my Computer Music


allegra contact email arimidex thinning hair purchase atenolol beta lamictal kidneys glaxosmithkline geniric for nexium discontinuing neurontin more info about pepcid plavix tapering off elavil in canada more celebrex indonesia valtrex 1000mg celebrex case symbicort meq anafranil pe fml outdoors erythromycin for alzheimers cymbalta withdrawals seroquel nizoral more info about allegra apartments henderson info about low cost boniva tyrosine with paxil swelling aleve depression drug lexapro in india benadryl anaphylaxis prilosec pill container pcos clomid metformin depakote for fibromyalgia snorting keppra in california brahmi bacopa in california geodon resperdal more reconstituting ampicillin intravenous clonidine sublingual flomax pump allegra non prescription mysoline desmopressin nexium v prevacid contact buspar phenergan dea schedule more pk allopurinol lasix loop duiretics avelox 400mg tabs benadryl oral otc trental electives in usa over-the-counter allegra equivalent vermox new zealand in california tricor dizziness nasonex without perscription info about atenolol magnesium