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Natural Science Forum / Physics / Acoustics / June 2005Finding reverbaration time in recordings.
Dear Colleagues, I am a sound engineering student at the Frederic Chopin Conservatory in Warsaw, Poland. I am preparing to write an MA thesis on reverbaration time in acoustic recordings (mainly of classical music and jazz) to find out whether there is a tendency to enhance natural recording studio reverberation with an artificial one in the process of mastering (or perhaps during the recording itself). As reverberation characteristics for many recording studios and halls are well known, it should be relativly easy to find out whether some artificial reverb has been added to a recording. The difficult bit is a finding a reliable method for judging the reverbaration time in recorded material. I thought perhaps some of you would be kind enough to point me some direction where I could begin my research. Currently I have a pretty conventional idea of measuring the steepness of sound decay in abruptly stopped passages and general pauses. If there's a more efficient way, perhaps allowing to take some reliable measurement in continuous musical passages, please let me know. Best regards, Antoni Grzymała > As reverberation characteristics for many recording studios > and halls are well known, it should be relativly easy to find > out whether some artificial reverb has been added to a recording. Hello Antoni, Your task will not be easy, because there will be no fixed setting of the "Lexicon 480" reverberation in the recording production. The slow movement will have more artificial reverb than the others. When it comes to a sudden stop, I never leave the echo return setting where it was. I surely will reduce the level. The recording is an editing puzzle from three days recording with audience and the retakes in the empty hall. I do what I can to hide the different acoustics of these situations. When the orchestra plays very loudly I add extra level from the reverb to make the sound more exiting. Especially in surround sound recordings I am always changing the room sound with the dynamic. If I would not do that, the listener will ask, why are no rear speakers engaged half of the time? If you find a recording of a music documentation done by a radiostation where they red the newspaper during recording you will have good luck, but only then. Jens Antoni, > to find out whether there is a tendency to enhance natural recording studio reverberation with an artificial one in the process of mastering (or perhaps during the recording itself). < Jens has the right idea. It will be much easier to find some classical recording engineers and simply ask them what they do, and also ask what they think most of their colleagues do. That is more direct than trying to determine the amount of reverb present in recordings! --Ethan |
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