Alison Vardy   Solo Celtic Harpist  
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Reverberant Thoughts
Bouncing Off the Walls


Reverberation is the icing on the cake. Too much and you feel a little off. Not enough and it's obvious something's wrong. This analogy is very apparent with live Celtic harp music. Here is an abridged and revised definition of reverberation from the Sweetwater InSync Archives

 

Reverb -

The remainder of sound that exists in a room after the source of the sound has stopped is called reverberation. The audible bounce off the walls after the instrument's note has silenced. We've all heard it when doing something like clapping our hands (or bouncing a ball) in a large enclosed space (like a gym). All enclosed performance spaces have some reverberation, even though we may not always notice it as such. The characteristics of the reverberation are a big part of the subjective quality of the sound of any room in which we are located.

Our brains learn to derive a great deal of information about our surroundings from the sound of a room and it's reverberation. Consequently it is necessary to have the proper type and amount of augmenting reverberation for a natural and aesthetically pleasing experience when using live sound. The artificially created reverb from the speakers must marry well with the intrinsic natural reverberation of the performance space for a successful effect.

To create reverb, a device known as a reverb unit is employed. Reverb units have historically come in many shapes and sizes, and have used many different techniques (IE: springs) to create the reverberation. These days most of the reverb units employed throughout the world are digital, where the sound of the reverb is generated by a computer algorithm and mixed back into with the original signal prior to amplification.

 

Okay was that clear as mud like a badly adjusted reverb? Try this. If you listen to a sound system that is "dry" without reverb added, the music sounds like it comes out of a tunnel from a single point source. Nothing from the room. The speaker volumes overwhelm the natural room acoustics. Our ears, which are amazingly acute to the nuances of reflected sound within a confined space, register something is wrong. The result? - a sonically irritating audio performance.

When using too much added reverb, the ear registers a confusion of perception cues as to the original point source of the music. This creates a spacey, murky and muddy sonic result. If the amount of added reverb is reduced to the "can I hear it? can I not hear it?" listening point, the natural room acoustics start to blend with the artificial speaker 'verb. If the sustain/tail of the reverb is adjusted for time/length and the type of space is accounted for in the computer algorithm, a very pleasant and more natural sounding effect is created.

You can always hear a well matched reverb because the room seems to have an additional audible lift, sparkle and clarity. Often the sound can seem warmer and more enveloping too. In a good system a well matched reverb can make the system disappear from the listener's consciousness. Having created this balance, an engineer can tinker with the audio and create sonic effects with his mix. For example, the Loreena Effect.

 

I will add your knowledge and experience to the “mix” if it can add to the effectiveness of these articles. The rest of the Celtic Harp Amplification Series is available here.


Stephen Vardy
Harpsound Audio
[email protected]

 
 
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