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Sympathetic resonance has been applied to musical instruments from many cultures and time periods, and to string instruments in particular. In instruments with undamped strings (e.g. harps, guitars and kotos), strings will resonate at their fundamental or overtone frequencies when other nearby strings are sounded.
Reverberation (commonly shortened to reverb), in acoustics, is a persistence of sound after it is produced. [1] Reverberation is created when a sound or signal is reflected. This causes numerous reflections to build up and then decay as the sound is absorbed by the surfaces of objects in the space – which could include furniture, people, and ...
After determining the best dimensions of the room, using the modal density criteria, the next step is to find the correct reverberation time. The most appropriate reverberation time depends on the use of the room. RT60 is a measure of reverberation time. [9] Times about 1.5 to 2 seconds are needed for opera theaters and concert halls.
Spring reverb, created with a series of mounted springs, is popular in surf music and dub reggae. Shimmer reverb, which alters the pitch of the reverberated sound, is often used in ambient music. Convolution reverb uses impulse responses to record the reverberation of physical spaces and recreate them digitally. Gated reverb became a staple of ...
The Wall of Sound (also called the Spector Sound) [1] [2] is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew".
A reverberation room or reverberation chamber is a room designed to create reverberation, a diffuse or random incidence sound field (i.e. one with a uniform distribution of acoustic energy and random direction of sound incidence over a short time period). Reverberation chambers tend to be large rooms (the resulting sound field becomes more ...
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Helmholtz resonator, p. 121, fig. 32. On the Sensations of Tone as a Physiological Basis for the Theory of Music (German Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik), commonly referred to as Sensations of Tone, is a foundational work on music acoustics and the perception of sound by Hermann von Helmholtz.