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Large chambers, especially such as cathedrals, gymnasiums, indoor Swimming Pools , large caves, etc. are examples of spaces where the reverberation can clearly be heard. Reverberation can make it difficult to hear speech. If the reverberation from one syllable overlaps the next Syllable it may make it impossible to hear. For instance, "cat", "cab", and "cap", will all sound the same. This loss of information makes reverb a useful tool in Studios for "smoothing" sounds- a common application is on vocals to help generate the Illusion of consistent pitch. Traditionally, this was achieved by recording sounds in reverberant chambers, but modern recording technology allows for analogue and digital processors which can simulate a wide range of spaces.

Different types of music tend to sound best with different reverberation times; during a live performance, Classical Music and Choral Music tend to require longer reverberation times than Modern Rock and Popular Music , for example. Pauline Oliveros , Stuart Dempster , and especially their group the Deep Listening Band have performed in very reverberant spaces, such as the Fort Warden Cistern, which has a reverberation of 45 seconds.

Reverberation times can differ depending on a frequency band, which is defined by the Acoustic Properties of the space.
  Filename Reverberation_effectogg
  Title Short sample of reverberation effect




THE SOUND DECAY RATE


In small rooms like damped living rooms you cannot speak of hearing the reverberation time. Therefore we use often the sound decay rate.

The sound decay rate is the time rate at which sound pressure level decreases in a room at a stated frequency. The unit is decibel per second (dB/s). The decay rate DR in a reverberant room is related to reverberation time by RT60 = 60 dB / DR.
Often the reverb time is called sound decay rate, which is wrong. Reverbtime in seconds and sound decay in decibel per second cannot be identical.


SIMULATING REVERBERATION


There are several different electronic mechanisms used to create a reverberation effect:

  • Plate reverberators use large (approx. 1 m × 2 m) metal plates, suspended with springs within damped cases to create a reverb effect. One or two Transducer s apply a signal to the plate by vibrating, and electronic Pickup s convert the vibration of the plates back into an electric signal. Reverberation time can be controlled by applying a mechanical damper to the plate.


  • Spring reverberators use coiled springs to reverberate a signal, given a Transducer and Pickup . Spring reverberators were often integrated into instrument Amplifiers , and are generally considered to have the least "real" sound. An exception to this is the high-quality AKG BX-series spring reverb.


  • DSP reverberators use electronics and signal-processing algorithms to create the effect of reverberation, through the use of large numbers of long delays with Quasi-random lengths, combined with Equalization , envelope-shaping, and other processes. They may also use Convolution and a pre-recorded Impulse Response to simulate an existing real-life space. Digital reverberators are by far the most ubiquitous.


  • Chamber reverberators — the simplest implementation of "artificial reverb." A large room with solid walls, such as the empty, excavated concrete foundation of a building is equipped with a Loudspeaker at one end and Microphones at the other. Chambers can produce long reverbs with a natural sound, but because of the space required, they are not in common use anymore. (Legend has it that the entire foundation of the Capitol Records building in Los Angeles was configured into one large Echo Chamber , but had to be renovated into underground parking for economic reasons.) It is difficult to control the shape and character of a chamber reverb.



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