122 Sentences With "reverberant" | Random Sentence Generator

The sound might otherwise have been impossibly reverberant and muddy.

He revealed details in music that other pianists tend to dissolve in a reverberant haze.

The young genius of fractured funk and reverberant R&B emerges boldly his debut full-length.

The opera became a simple, quietly compelling, all too reverberant tale of a community in crisis.

In the end, though, it was two text-pieces, familiar but reverberant, that stayed in my mind.

The Armory is even more reverberant, but the audience was close enough that the sound had tactile impact.

The assault is a master class of precision-timed scares filled with light shivers and deeper, reverberant frights.

The reverberant acoustics of the church must make it a little hard for orchestra players to hear one another.

Montego Glover (a Tony nominee for "Memphis") shows up late in the play to assume a reverberant double role.

Mr. Harrelson hits his beats with charismatic menace and a reverberant Texas twang, but he's booming in a vacuum.

And her spare, reverberant retrospective now at the Whitney Museum of American Art time-traveled me straight back to it.

Ms Tokarczuk and Ms Croft will share the £50,000 ($66,700) prize money, and rightly so: the translation is willowy and reverberant.

I have been in backups there at all hours as traffic sorts itself out with reverberant, souls-of-the-damned honking.

The 10 reverberant color photographs in D'Angelo Lovell Williams's show at Higher Pictures form one of the year's best gallery debuts.

Those hard, reverberant stares are about the only hint that the world in "Loving" is going to be falling off its axis.

All benefit from a crisply reverberant acoustic in which an instrument's timbre is nearly as important as the music played on it.

A tentative bond takes shape amid the humble pews and reverberant call and response, as the Pentecostal worshipers echo the resounding ministering.

So reverberant chant in Bathari, a language spoken by perhaps a few dozen people in Oman, sounds alongside enigmatic footage of rock formations.

Thomas McCargar led the performance (and the walk), stopping along the way under a few arches to take advantage of their reverberant acoustics.

SETH COLTER WALLS The extremely reverberant acoustics of the Cathedral Church of St. John the Divine in Manhattan are problematic for a full orchestra.

On his new album, "Have We Met," the idiom he chose is the reverberant, electronics-enhanced, early MTV tone of confidence with hidden misgivings.

When groups of monks, facing each other in a reverberant chapel, intoned psalms in plainchant, they inserted a pause in the middle of a verse.

The low, reverberant sound produced by Mr. Martin's bass on "Don't Worry," which reached the country Top 10, was reminiscent of a rumbling car muffler.

Deeply reverberant on its own, Hilton pulls back on the pedals that marked Blouse's gazey aesthetic and opts instead for simple arrangements of cellos and strings.

Rich with reverberant guitars and the high, chiming voice of Jim James, it suggested a searching twist on psychedelic rock without settling into a rigid style.

Now look at the photo above, taken at the Lockheed-Martin Waterton Reverberant Acoustic Lab: These stacked speakers produce a deafening roar of up to 150 decibels.

At the risk of incurring the artist's wrath, I removed the headphones and relaxed into the Armory's reverberant acoustic, which resembled that of a cathedral after hours.

In 2219, M21's 22014-track opus dropped like a boulder into the shallow pond of stadium-ready pop music, and its reverberant tremors can still be felt.

The setting was apt, and not just because of the hall's reverberant acoustics, which allowed the resonance trails of vocal lines to linger and tangle with one another.

The music unites fragility and majesty, placing Jason Lytle's high, quavery voice atop a piano hymn that swells into a vastly reverberant processional, like Neil Young leading Pink Floyd.

"December," an elegiac reverie with Mr. Akinmusire, slowly gathers density: capitalizing on the artists' technique, on the sculptural potential of a sound loop and on the reverberant qualities of their setting.

With Bulla en el Barrio, a group of more than a dozen musicians, he has performed this reverberant, boisterous music on stages across New York City over the past three years.

Encounters LOS ANGELES — Alex R. Hibbert eyed a group of six children whipping red and yellow balls at one another in a large, reverberant pit made with trampoline floors and walls.

The title track, "Magic Hour," evokes the reverberant chamber-pop obsessions of someone like Daniel Rossen of Grizzly Bear; "Porch Light," a ballad, leans more toward the lush austerity of Alison Krauss.

"The reverb uses an algorithm known as convolution, which allows us to take impulse responses from real spaces and apply the reverberant qualities of that space to another incoming signal," Howe explains.

Singing as part of the congregation on Sunday mornings, she grew to love the sound of men and women, young and old, coming together to make one sound in a reverberant space.

It's about a longing for escape, transcendence or a way to "make believe," and as the arrangement climbs from folky picking to a reverberant, orchestral processional, the music offers a glimpse of hope.

All of the group's albums, typically recorded live in reverberant spaces, are titled in sequence, and "13" — just out on the stylish Norwegian label Smalltown Supersound — has enough ominous tension to justify numerical superstitions.

He keeps you watching, as do the images of reverberant, often haunting power and beauty, including a fecund garden in which kale, berries and gourds grow in bleak contrast to the ship's laboratory fetuses.

The music's long, largely straight lines, tailored to the reverberant St. Mark's setting, did not encourage much embellishment from Mr. Sherwin (or Mr. Dickey) or even provide enough variety for just an hourlong concert.

The cavernous Mast Chocolate Factory in the Brooklyn Navy Yard has the soaring dignity of early industrial architecture, as well as quirkily reverberant acoustics that sometimes answered a singer's exclamation with gusts of layered echoes.

In the reverberant acoustics of the crypt, the first part of Mozart's familiar Fantasy in C minor sounded newly ominous, especially given the way Mr. Greilsammer dug into roiling figures in the piano's low register.

Riley's music has this really reverberant underlying base to it and I knew she could capture the airy, echoing environments in Prism Stalker while also conveying the inflections of subtle emotions that Vep experiences throughout the compositions.

Indeed, SLS is expected to produce such thundering noise that its payload, the Orion crew capsule, requires intense sound testing at the world's most powerful acoustic chamber: the newly completed Reverberant Acoustic Test Facility (RATF) in Sandusky, Ohio.

One gem is this late chamber piece, "Et je reverrai cette ville étrange" ("And I will see this strange city again"), from 1981, infused with the gamelan sounds he learned during a stay in Bali and punctuated by reverberant gong.

Soft skills is a term that totally reeks of corporate management PowerPoints, but despite (or maybe because of) my partial revulsion to it I can't let it go; it's become a sort of reverberant node for my thinking about women and work.

Deep questions like these proliferate around Mr. Little's brooding, politically charged work, even though the music itself rarely seems in doubt: It's forthright, visceral, bloody, with the intimacy and polish of a classical chamber ensemble but bulging with the loud, reverberant sweatiness of rock.

The tracks are reverberant electronic dirges; the rhymes, heading into sung choruses, testify to bewilderment, mourning, resentment, self-pity and questions about what to do after a cathartic memorial concert: "I get tackled by the grief at times that I would least expect," he raps.

Another director whose absence became a reverberant presence this year is the Iranian filmmaker Jafar Panahi, who plays himself (or a version of that persona) in "3 Faces," a moving multigenerational portrait of three independent female performers, including a woman who was banned after the 1979 revolution.

You want to bottle it just as you hope someone may find a way to harness the reverberant energy of labels like Official Rebrand, whose collection was so rife with wacko references — graffiti, sloganeering, kiddie sketches and femme-butch dualities — that if the designer, MI Leggett, omitted the kitchen sink it must have been an oversight.

St. John the Divine is much too large and reverberant to allow for clear projection of individual melodies or harmonies, and that was the idea: that lines would partly vanish in a mysterious void and partly mingle to form a distant fabric of sound as a backdrop to whichever performance was close at hand as listeners roamed freely.

Valhalla ÜberMod is a plugin which is geared towards delay effects, but can also create reverberant effects.

This might be comparable to human hearing whether one calls > into a beech forest or into a reverberant wine cellar.

Visitors from around the world have experienced the sound of this instrument in the sanctuary's famously reverberant acoustic. Renowned organist Virgil Fox recorded The Christmas Album on the Möller Organ in 1965.

The application for these were for highly reverberant spaces where a narrow vertical design kept from exciting the reverberant field. A multi-band line array elements in a horizontally oriented enclosure was suggested by Joseph D'Appolito in 1983.JBL's development team talks about line array concepts. However, it was L-Acoustics' V-DOSC line array in the mid-1990s that would show the concert world that a more level and smoother frequency response can come from fewer boxes in a line array.

To simplify the calculation of the coupling loss factors it is often assumed that there is significant scattering within each subsystem (when viewed across an ensemble) so that direct field transmission between multiple connections to the same subsystem is negligible and reverberant transmission dominates. In practical terms, this means that SEA is often best suited for problems in which each subsystem is large compared with a wavelength (or from a modal point of view, each subsystem contains several modes in a given frequency band of interest). The SEA equations contain a relatively small number of degrees of freedom and so can be easily inverted to find the reverberant energy in each subsystem due to a given set of external input powers. The (ensemble average) sound pressure levels and vibration velocities within each subsystem can then be obtained by superimposing the direct and reverberant fields within each subsystem.

Dereverberation is the process by which the effects of reverberation are removed from sound, after such reverberant sound has been picked up by microphones. Dereverberation is a subtopic of acoustic digital signal processing and is most commonly applied to speech but also has relevance in some aspects of music processing. Dereverberation of audio (speech or music) is a corresponding function to blind deconvolution of images, although the techniques used are usually very different. Reverberation itself is caused by sound reflections in a room (or other enclosed space) and is quantified by the room reverberation time and the direct-to-reverberant ratio.

The effect of dereverberation is to increase the direct-to-reverberant ratio so that the sound is perceived as closer and clearer. A main application of dereverberation is in hands-free phones and desktop conferencing terminals because, in these cases, the microphones are not close to the source of sound – the talker’s mouth – but at arm’s length or further distance. As well as telecommunications, dereverberation is importantly applied in automatic speech recognition because speech recognizers are usually error-prone in reverberant scenarios. Dereverberation became established as a topic of scientific research in the years 2000 to 2005.P. A. Naylor and N. D. Gaubitch, “Speech dereverberation,” in Proc. Intl.

Critical distance is, in acoustics, the distance at which the sound pressure level of the direct sound D and the reverberant sound R are equal when dealing with a directional source. As the source is directional, the sound pressure as a function of distance between source and sampling point (listener) varies with their relative position, so that for a particular room and source the set of points where direct and reverberant sound pressure are equal constitutes a surface rather than a distinguished location in the room. In other words, it is the point in space at which the combined amplitude of all the reflected echoes are the same as the amplitude of the sound coming directly from the source (D = R). This distance, called the critical distance d_c, is dependent on the geometry and absorption of the space in which the sound waves propagate, as well as the dimensions and shape of the sound source. A reverberant room generates a short critical distance and an acoustically dead (anechoic) room generates a longer critical distance.

The precedence effect is the observation that sound localization can be dominated by the components of a complex sound that are the first to arrive. By allowing the direct field components (those that arrive directly from the sound source) to dominate while suppressing the influence of delayed reflected components from other directions, the precedence effect may improve the accuracy of perceived sound location in a reverberant environment.Processing of the precedence effect involves enhancing the leading edge of sound envelopes of the signal after dividing it into frequency bands via bandpass filtering. This approach can be done at the monaural level as well as the binaural level, and improves accuracy in reverberant environments in both cases.

317–318, 618. Although the first two concerts at the Cirque were well attended, the numbers quickly declined and the series closed after the fourth concert. The location, not a popular spot in the wintertime, was probably partly to blame, as were the acoustics of the hall, which was too reverberant.

Several subjective sound impressions are closely related to apparent source width. Reverberance refers to the impression that spatially and temporally distributed sounds blend due to reverberation. Liveness is the impression that the room contributes more than just repetitions of direct sound. A live concert sounds better in a reverberant than in a dead or dry hall.

He has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists." (Source: Larry Blumenfeld, A Saxophonist's Reverberant Sound, June 11, 2010, The Wall Street Journal) In September 2014, Coleman was awarded a MacArthur Fellowship (a.k.a. "Genius Grant") for "redefining the vocabulary and vernaculars of contemporary music.

To solve a noise and vibration problem with SEA, the system is partitioned into a number of components (such as plates, shells, beams and acoustic cavities) that are coupled together at various junctions. Each component can support a number of different propagating wavetypes (for example, the bending, longitudinal and shear wavefields in a thin isotropic plate). From an SEA point of view, the reverberant field of each wavefield represents an orthogonal store of energy and so is represented as a separate energy degree of freedom in the SEA equations. The energy storage capacity of each reverberant field is described by a parameter termed the 'modal density', which depends on the average speed with which waves propagate energy through the subsystem (the average group velocity), and the overall dimension of the subsystem.

One critic searched for a connection to Sycorax's North African heritage, and found a parallel in Shokereth שוקרת, a Hebrew word meaning "deceiver". Another recent idea suggests that, for thematic as well as historical reasons, the name is the reverberant combination of syllables in the name Corax of Syracuse, the often acknowledged founder of rhetoric, and the worthy, fictionalised rival of Prospero.Harder, Dan.

Canyon Lullaby is a Grammy nominated album released by Paul Winter in 1997. The album is the first Paul Winter album made up entirely of solo saxophone improvisations. It was also the first surround sound album to be recorded in the wilderness. In 1985, Paul Winter recorded Canyon in a naturally reverberant side canyon of the Grand Canyon which he nicknamed "Bach's Canyon".

Eddy devised a technique of playing lead on his guitar's bass strings to produce a low, reverberant "twangy" sound. In November 1957, Eddy recorded an instrumental, "Movin' n' Groovin'", co-written by Eddy and Hazlewood. As the Phoenix studio had no echo chamber, Hazlewood bought a 2,000-gallon (7570-litre) water storage tank that he used as an echo chamber to accentuate the "twangy" guitar sound.

This instrument, in the church's famously reverberant acoustic, has been celebrated by generations of organists. Virgil Fox recorded The Christmas Album on the Möller at St. Paul the Apostle in 1965. The largest Möller church organ, built as a single new instrument, is installed in Calvary Church, Charlotte, North Carolina, Opus 11739, completed in 1990. Möller also built a large number of theatre organs, often known as the "Möller Deluxe" organ.

The application of structured sparsity for joint speech localization-separation in reverberant acoustics has been investigated for multiparty speech recognition. Further applications of the concept of sparsity are yet to be studied in the field of speech processing. The idea behind applying CS to speech signals is to formulate algorithms or methods that use only those random measurements ({y})) to carry out various forms of application-based processing such as speaker recognition and speech enhancement.

I Like Trains (previously styled as iLiKETRAiNS) is an English alternative/post-rock band, formed in Leeds, West Yorkshire, England. The group play brooding songs featuring sparse piano and guitar, baritone vocals, uplifting choral passages and reverberant orchestral crescendos. They draw their inspiration from historical failings and a pessimistic world view. On 7 April 2007, I Like Trains featured on the early-hours music television programme The JD Set, which featured live performance clips and interviews.

He consciously did not use the clicky Metallica bass drum sound, preferring instead to update Jason Bonham's ambient and reverberant drum sound by using a mix of close and ambient drum microphones on his kit,Details of microphones used at the Led Zeppelin reunion brought into phase using a 3 or 4ms delay,Article in the June 2008 issue of Performing Musician And Live Sound World magazine (not online) and finished with a small amount of digital reverb.

Systems typically include 500 plus speakers, 2 million plus watts of amplification, at least 8 to 16 control microphones, and a closed-loop MIMO acoustic control and data acquisition system. The mobility and “building block” approach allows this method to be tailored for each application and to provide a more timely and cost effective test solution. This method can also be useful for testing articles that are too large to fit inside a traditional acoustic reverberant chamber.

The Institute for Contemporary Arts is a non-collecting contemporary art institution designed by Steven Holl Architects and located on the Virginia Commonwealth University campus in Richmond. The design by Steven Holl Architects emphasizes the fluidity of interior and exterior space and fosters the connection between technology and natural resources. The design, however, creates reverberant sounds that disturb the experience within the museum. Acoustic plaster was used as a remedy to address the sound environment without compromising design.

Miners utilize equipment strong enough to break through extremely hard layers of the Earth's crust. This equipment, combined with the closed work space in which underground miners work, can cause hearing loss. For example, a roof bolter (commonly used by mine roof bolter operators) can reach sound power levels of up to 115 dB. Combined with the reverberant effects of underground mines, a miner without proper hearing protection is at a high risk for hearing loss.

This is sufficient to give reasonable perception of speech in quiet, but not in noisy or reverberant conditions. The processing in cochlear implants is such that the TFSp is discarded in favor of fixed-rate pulse trains amplitude-modulated by the ENVp within each frequency band. Implant users are sensitive to these ENVp modulations, but performance varies across stimulation site, stimulation level, and across individuals. The TMTF shows a low-pass filter shape similar to that observed in normal-hearing listeners.

Bozak developed an electronic digital delay device in the early 1970s and used it to align loudspeakers in time within event spaces. The Bozak DA-4003 delay, Bozak amplifiers and various Bozak loudspeaker models were used by Donald E. Gilbeau and Dr. J. Christopher Jaffe in 1975 to emulate a concert hall experience outdoors; Jaffe received a patent for the concept.AES E-Library: ''Reverberant Field Energizer and Electronic Forestage Canopy System. Gilbeau, Donald E.; Jaffe, Christopher'' AES (1975-05-01).

Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer's mouth. This produces a more intimate, less reverberant sound than when the singer is a foot or more from the microphone (see proximity effect). It also emphasizes low-frequency sounds in the voice. The result was a singing style that diverged strongly from earlier styles, such as vocals in musical comedies of the 1930s and 1940s.

The band's sound was highlighted by the authoritative and versatile vocals provided by Bonniwell, with an energized technique that juxtaposed the styles of Mick Jagger and Sky Saxon. Unlike these two contemporaries, Bonniwell possessed unusually good intonation in long-sustained passages, and the ability to breakdown phrases into a series of slow pulsations. The Music Machine's artistic stance was also highlighted by Landon's wiry guitar playing, Olsen's reverberant bass, and Edgar's cymbal- punctuated drumming, which gave the band a harder-edged sound than many of their contemporaries.

The surround microphones are usually placed at the critical distance (where the direct and reverberant field is equal), with the full array usually situated several meters above and behind the conductor. The NHK (Japanese broadcasting company) developed an alternative technique also involving five cardioid microphones. Here a baffle is used for separation between the front left and right channels, which are 30 cm apart. Outrigger omnidirectional microphones, low-pass filtered at 250 Hz, are spaced 3 meters apart in line with the L and R cardioids.

Their hits included "How High the Moon", "Bye Bye Blues", "Song in Blue", "Don'cha Hear Them Bells", "The World Is Waiting for the Sunrise", and "Vaya con Dios". The songs were recorded with multiple tracks where Ford harmonized with herself and Paul played multiple layers of guitars. They used the recording technique known as close miking where the microphone is less than from the singer's mouth. This produces a more intimate, less reverberant sound than when a singer is or more from the microphone.

An advantage of DFAT testing over reverberant testing is the portability of the DFAT system. This allows the test equipment to be transported to any location, setup, calibrated, used to perform a High Intensity Acoustic Test and then removed from the test site. The entire process from load-in to load-out can be accomplished in no more than 4 days for a large satellite or similar aerospace structure. The test system uses a “building block” approach to form combinations of equipment to satisfy the environmental requirements.

The Deep Listening Band (DLB) was founded in 1988 by Pauline Oliveros (accordion, "expanded instrument system", composition), Stuart Dempster (trombone, didjeridu, composition) and Panaiotis (vocals, electronics, composer). David Gamper (keyboards, electronics) replaced Panaiotis in 1990. The band is named after Oliveros' term, concept, program and registered servicemark of the Deep Listening Institute, Ltd., Deep Listening, and specializes in performing and recording in resonant or reverberant spaces such as cathedrals and huge underground cisterns including the Fort Worden Cistern which has a 45-second reverberation time.

Writing on the website In On The Corner, Kevin Coultas described the Fred Frith Trio as one of Frith's "most superlative" bands since Henry Cow. He complimented the rhythm section of Hoopes and Glenn, saying that they "lay down metronomic and/or shifting grooves" that produce "sunset-like colors on which Frith eviscerates and/or gently highlights with an array of engaging tremolo and reverberant effects". Coultas praised Intakt Records for producing "such a vital statement from a singular artist and his inventive crew".

A sarod The sarod or sarode is a stringed instrument, used mainly in Hindustani music on the Indian subcontinent. Along with the sitar, it is among the most popular and prominent instruments. The sarod is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with sympathetic strings that give it a resonant, reverberant quality. It is a fretless instrument able to produce the continuous slides between notes known as meend (glissandi), which are important in Indian music.

Sound absorbing material controls reverberant sound pressure levels within a cavity, enclosure or room. Synthetic Absorption materials are porous, referring to open cell foam (acoustic foam, soundproof foam). Fibrous absorption material such as cellulose, mineral wool, fiberglass, sheep’s wool, are more commonly used to deaden resonant frequencies within a cavity (wall, floor, or ceiling insulation), serving a dual purpose for their thermal insulation properties. Both fibrous and porous absorption material are used to create acoustic panels, which absorb sound reflection in a room, improving speech intelligibility.

Traditional photoacoustic beamforming techniques modeled photoacoustic wave propagation by using detector array geometry and the time-of-flight to account for differences in the PA signal arrival time. However, this technique failed to account for reverberant acoustic signals caused by acoustic reflection, resulting in acoustic reflection artifacts that corrupt the true photoacoustic point source location information. In Reiter et al., a convolutional neural network (similar to a simple VGG-16 style architecture) was used that took pre-beamformed photoacoustic data as input and outputted a classification result specifying the 2-D point source location.

A diesel generator is the preferred power source, therefore providing clean on-site electrical power in a consistent configuration for connection to the MSI power distribution equipment. This removes the demand for large quantities of power from the test facility. In addition, testing can be performed at a much lower cost per test compared to the installation, operation and maintenance of a more standard high intensity reverberant acoustic chamber system. Finally, mobility allows this test method to be performed at almost any time and place in the normal test article integration and test flow.

The Siemens Studio for Electronic Music ca. 1956. Electrical recording was common by the early 1930s, and mastering lathes were electrically powered, but master recordings still had to be cut into a disc, by now a lacquer, also known as an Acetate disc. In line with the prevailing musical trends, studios in this period were primarily designed for the live recording of symphony orchestras and other large instrumental ensembles. Engineers soon found that large, reverberant spaces like concert halls created a vibrant acoustic signature as the natural reverb enhanced the sound of the recording.

This mechanism becomes especially important in reverberant environments. After a sound onset there is a short time frame where the direct sound reaches the ears, but not yet the reflected sound. The auditory system uses this short time frame for evaluating the sound source direction, and keeps this detected direction as long as reflections and reverberation prevent an unambiguous direction estimation. The mechanisms described above cannot be used to differentiate between a sound source ahead of the hearer or behind the hearer; therefore additional cues have to be evaluated.

On the opening track, "1382 Wyclif Gen. ii. 7", a vocal line, the first that is sampled from the lament song recordings used on Spellewauerynsherde, 'slips gently into a kind of canonic imitation of itself as a cloud of reverberant resonance drifts in from afar'. The centerpiece of the album, "1483 Caxton Golden Leg. 208 b/2", is a distinctive drone piece that, while incorporating tones from the recordings, is 'gather[ed] into an eerie microtonal cloud' that has been compared to György Ligeti's choral works that were used in 2001: A Space Odyssey.

DuNann achieved his signature sound--crisp, clear and balanced without distortion or unpleasant "peak presence"--by keeping his microphone setups very simple (generally one per musician) and avoided the use of pre-amplifiers for them. He built a simple passive mixing system that directly fed the electronics of his Ampex 350 and 351 tape machines. Also, DuNann told Stereophile that Contemporary sessions were recorded "dry" (without electronic echo added or in a reverberant room). Sometimes, such as in the case of Sonny Rollins' Way Out West, a plate reverb unit was inserted between the tape machine and the LP disc cutting lathe.

An adaptive filter is a system with a linear filter that has a transfer function controlled by variable parameters and a means to adjust those parameters according to an optimization algorithm. Because of the complexity of the optimization algorithms, almost all adaptive filters are digital filters. Adaptive filters are required for some applications because some parameters of the desired processing operation (for instance, the locations of reflective surfaces in a reverberant space) are not known in advance or are changing. The closed loop adaptive filter uses feedback in the form of an error signal to refine its transfer function.

Several composers have begun to make resonance the subject of compositions. Alvin Lucier has used acoustic instruments and sine wave generators to explore the resonance of objects large and small in many of his compositions. The complex inharmonic partials of a swell shaped crescendo and decrescendo on a tamtam or other percussion instrument interact with room resonances in James Tenney's Koan: Having Never Written A Note For Percussion. Pauline Oliveros and Stuart Dempster regularly perform in large reverberant spaces such as the cistern at Fort Worden, WA, which has a reverb with a 45-second decay.

Wow and flutter are particularly audible on music with oboe, string, guitar, flute, brass, or piano solo playing. While wow is perceived clearly as pitch variation, flutter can alter the sound of the music differently, making it sound ‘cracked’ or ‘ugly’. A recorded 1 kHz tone with a small amount of flutter (around 0.1%) can sound fine in a ‘dead’ listening room, but in a reverberant room constant fluctuations will often be clearly heard. These are the result of the current tone ‘beating’ with its echo, which since it originated slightly earlier, has a slightly different pitch.

The technique uses normal incident plane waves in a shaped spectrum of acoustic noise to impact directly on all exposed test article surfaces without external boundary reflections. Depending on the geometry of the test article this could produce magnitude variations on surfaces due to phasing differences between the plane waves. In the case of large surface area, low mass density test articles the phasing difference may excite primary structure modes in a different way than more conventional reverberant-field testing. This fundamental difference and its impact on the structure must be weighed against the advantages of the DFAT method.

The reverberant acoustic of Decca's Kingsway Hall made it difficult for listeners to imagine that the action of the opera was truly taking place in the domestic settings decreed by the librettist,Geoffrey Horne,Gramophone, April 1984, p. 1213 Richard Lawrence included the album in a survey of the discography of the opera in Gramophone's 2011 Awards issue. Its cast, he wrote, was "glittering". Kiri Te Kanawa's Countess was "meltingly beautiful", Yvonne Kenny's Barbarina "touchingly worried" in her search for her lost pin, Thomas Allen "quite simply superb" as the Count and Samuel Ramey "round-toned" and "forceful" as Figaro.

360-degree image of an acoustic anechoic chamber 360-degree image of an electromagnetic anechoic chamber An anechoic chamber (an-echoic meaning "non- reflective, non-echoing, echo-free") is a room designed to completely absorb reflections of either sound or electromagnetic waves. They are also often isolated from waves entering from their surroundings. This combination means that a person or detector exclusively hears direct sounds (no reverberant sounds), in effect simulating being inside an infinitely large room. Anechoic chambers, a term coined by American acoustics expert Leo Beranek, were initially exclusively used to refer to acoustic anechoic chambers.

Hunt's Physics dissertation, "The use of a frequency modulated source in reverberation measurements," published in the Journal of the Acoustical Society of America in 1934, described the use of a "warble tone" to improve the reliability of reverberation time measurements in concert halls. Hunt continued this work with his first doctoral student, Leo Beranek. In 1939, Hunt, Beranek and Maa published a theory of the separate decay times of the normal modes of a rectangular room, demonstrating that the initial and asymptotic reverberant decay are governed by the non-grazing and grazing modes of the room, respectively.

Echoplex EP-2 Before the invention of audio delay technology, music employing a delayed echo had to be recorded in a naturally reverberant space, often an inconvenience for musicians and engineers. The popularity of an easy-to-implement real-time echo effect led to the production of systems offering an all-in-one effects unit that could be adjusted to produce echoes of any interval or amplitude. The presence of multiple taps (playback heads) made it possible to have delays at varying rhythmic intervals; this allowed musicians an additional means of expression over natural periodic echoes.

Howells set the combination of Magnificat and Nunc dimittis 20 times, taking the words from the Book of Common Prayer. The St Paul's Service is scored for a four-part choir and organ. He finished it at his home in Barnes, London, on 26 December 1950. He later wrote that this was "the most extended in scale" of the canticle settings he wrote, and that the "great spaces" of St Paul's influenced the music, since the cathedral's long echo meant that changes of harmony and tonality had to take place in "more spacious ways" than if it was a less reverberant building.

In 1962, Spector started a new label, Philles Records, and recorded the song "He's a Rebel", which would be credited to the Crystals. He enlisted the aid of his high-school friend, saxophonist Steve Douglas, who was also working as a contractor in charge of recruiting musicians for recording sessions. Douglas helped him corral the backing unit, which included Pohlman, guitarists Howard Roberts and Tommy Tedesco, pianist Al De Lory, upright bassist Jimmy Bond, and Hal Blaine on drums. They booked Studio A at Gold Star Studios, known for its deeply reverberant echo chambers, which became the preferred recording facility for Spector.

If many of the songs were slightly more stripped down, this record would have exceeded all expectations." John Pareles of The New York Times gave a positive review of the album, when he praised that "The craftsmanship is painstaking and impressive: layer upon layer of glossy keyboards, reverberant guitars and choirlike backing vocals. But these crystal-palace productions are proud showcases for unctuous, sometimes oddly morbid lyrics." At the Daily Star, John Earls surmised that "Ryan Tedder sings as beautifully as ever and he can’t help writing slick, soulful harmonies" that "even by their standards, the band serve up polished, radio-friendly hits-in-waiting.

Lyon's calculation showed that under certain conditions, the flow of energy between two coupled oscillators is proportional to the difference in the oscillator energies (suggesting a thermal analogy exists in structural-acoustic systems). Smith's calculation showed that a structural mode and a diffuse reverberant sound field attain a state of 'equipartition of energy' as the damping of the mode is reduced (suggesting a state of thermal equilibrium can exist in structural- acoustic systems). The extension of the two oscillator results to more general systems is often referred to as the modal approach to SEA.Lyon, Richard H. Statistical energy analysis of dynamical systems: theory and applications. 1975.

The transmission of energy between different wavefields at a given type of junction is described by parameters termed 'coupling loss factors'. Each coupling loss factor describes the input power to the direct field of a given receiving subsystem per unit energy in the reverberant field of a particular source subsystem. The coupling loss factors are typically calculated by considering the way in which waves are scattered at different types of junctions (for example, point, line and area junctions). Strictly, SEA predicts the average response of a population or ensemble of systems and so the coupling loss factors and modal densities represent ensemble average quantities.

He seemed to have inhibited his singers from performing their roles in the way that they would have preferred to, and he had chosen some highly unorthodox tempi for no discernible reason. His eccentric speeds might not "actually distress" listeners, but neither would they help anyone to understand the opera more deeply. The album's engineering too was less than ideal, providing a convincingly theatrical stereo soundstage but offering an anachronistic "sleek and rounded" audio with a reverberant acoustic and a balance that favoured strings over woodwinds and instruments over singers. In sum, despite all its good ingredients, the album was not one that could be recommended.

One of A Winged Victory for the Sullens tracks was written in memory of Sparklehorse frontman Mark Linkous (pictured in 1992) A Winged Victory for the Sullen contains seven tracks and has been classified as ambient, contemporary classical, drone and post-rock. The album's sound was defined by its various writing and recording environments, which included the use of large reverberant spaces. Dustin O'Halloran sought out a selection of nine-foot grand pianos–including a 1950s imperial Bösendorfer piano and a handmade Fazioli–and performed in these spaces to "deliver extreme sonic low end". Adam Wiltzie's "drifting guitar washed melodies" were also noted as juxtaposing the more-traditional instrumentation, such as cello, violin, viola, harp, French horn and bassoon.

The only musician on the album who was open to serious criticism was its conductor. Georg Solti took recitatives faster than was dramatically realistic, and drove most of the opera forward at a "peremptory" pace that added to the excitement of its finales but subtracted from its warmth elsewhere. Solti's was a reading of "brusque rhythm and very precise detail", but "rather too little humanity in its unsmiling features". Decca's production made intelligent use of the stereo soundstage, but had two definite weaknesses - the opera was recorded in an acoustic too reverberant to suit the libretto's private, domestic settings, and the digital recording process has placed the musicians in a "glassy no-man's-land".

AllMusic critic Adam Greenberg writes of Tana Mana: "The reverberant quality of the sitar combines rather well with the chosen electronic accompaniments to form a set of coherent songs, unlike many other such attempted combinations of traditional instruments and technology. The sitar playing is, as usual, superb ... With an extra sarod thrown in, a small front line of synthesizers, and Shankar's friend George Harrison assisting on the autoharp, the pile of musicality that forms allows an unexpectedly coherent, clear, and relatively focused piece of music to emerge."Adam Greenberg, "Ravi Shankar Tana Mana", AllMusic (retrieved 27 December 2013). Writing for the French website Music Story, Christian Larrède describes Tana Mana as "a very good record".

Acoustic enhancement is a subtle type of sound reinforcement system used to augment direct, reflected, or reverberant sound. While sound reinforcement systems are usually used to increase the sound level of the sound source (like a person speaking into a microphone, or musical instruments in a pop ensemble), acoustic enhancement systems are typically used to increase the acoustic energy in the venue in a manner that is not noticed by the audience. The correctly installed systems replicate the desired acoustics of early reflections and reverberation from a room that is properly designed for Acoustic Music. An additional benefit of these systems is that the room acoustics can be changed or adjusted to be matched to the type of performance.

Matrix recordings digitally synchronize an amateur audience recording with the soundboard audio in order to add the natural, reverberant sound of the performance hall and the excitement of the audience. This can increase the "live feel" of what might be a "dry", or sometimes relatively lifeless recording. Various ratios of the two can be blended to reduce sound errors from microphone bleeding or errant mixing levels while adding the ambient sounds of the venue and lessening the possibly amateurish sound quality captured by microphones in the audience. Volume 8 was the first of the Dave's Picks albums to feature Brent Mydland on keyboards, and the first that was recorded after the 1970s.

Allmusic awarded the album with 3½ stars and its review by Richard S. Ginell states: "Recorded in a heavily reverberant Austrian monastery, the voices sometimes develop in overwhelming waves, and Garbarek rides their crest, his soprano saxophone soaring in the monastery acoustic, or he underscores the voices almost unobtrusively, echoing the voices, finding ample room to move around the modal harmonies yet applying his sound sparingly."Ginell, R. S.[ Allmusic Review: Officium] accessed 11 March 2010 Marius Gabriel remarked that Officium is "what Coltrane hears in heaven." What Coltrane hears in heaven by Marius Gabriel Brought together by Manfred Eicher, this collaboration has become one of the most successful releases on the ECM label, achieving sales of more than 1.5 million.In Conversation With Jan Garbarek, jazz.

Following the opening of the hall, there was some criticism of certain aspects of the acoustics. This was partially attributable to the fact that some of the original specifications for room surfaces determined by the acoustic consultants were ignored in the building process. A specific problem for performers was the difficulty of hearing each other on the platform. Both the angled ‘blast’ side walls and the plywood reflectors projected sound away from the stage. The general consensus was that the hall was ‘too dry’, not reverberant enough, particularly at low frequencies, and that the bass tone was weak. The definition was ‘excellent’ for chamber and modern music, but the hall was not as effective for music of the late Classical or Romantic period.

In terms of actual computer processing, the principal steps are to 1) digitize the performed, analog music, 2) do successive short-term, fast Fourier transform (FFTs) to obtain the time-varying spectra, 3) identify the peaks in each spectrum, 4) analyze the spectral peaks to get pitch candidates, 5) connect the strongest individual pitch candidates to get the most likely time-varying, pitch contour, 6) map this physical data into the closest music-notation terms. The most controversial and difficult step in this process is detecting pitch . The most successful pitch methods operate in the frequency domain, not the time domain. While time-domain methods have been proposed, they can break down for real-world musical instruments played in typically reverberant rooms.

In rock, heavy metal, blues, jazz and fusion bands and some pop contexts as well as others, the lead guitar line often involves melodies (as well as power chords from the rhythm guitars) with a sustained, singing tone. To create this tone on the electric guitar, guitarists often select certain pickups and use electronic effects such as effects pedals and distortion pedals, or sound compressors, or doubler effects for a more sustained tone, and delay effects or an electronic "chorus" effect as well as electronic reverb and echo for a reverberant sound. To attain this sustain effect guitarists often use tube amplifiers such as those from Marshall or Fender. The tube effect comes from the way amplifying tubes distort when pushed to the limits of their amplification power.

Winter and his Consort began organizing many different events at the Cathedral, and in turn, the Cathedral allowed the use of its very reverberant sanctuary (with a measured seven seconds of reverberation time) and its organ for the creation of new albums. When Dorothy Papadakos succeeded Halley as Cathedral Organist in 1990, she teamed with the Paul Winter Concert for the Cathedral's festive Easter and Christmas services, The Consort appeared on many of Winter's projects throughout the 1980s. With their new lineup of Paul Winter on soprano saxophone, Nancy Rumbel on oboe and English horn, Paul Halley on piano and organ, ground-breaking jazz cellist Eugene Friesen, Jim Scott on guitars, and world percussionist Ted Moore, the Consort recorded Winter's album Callings, which further examined the possibility of creating music with wildlife.

The city of Toronto expresses interest in the project once Boston steps out and over the remainder of the film Yo-Yo and Julie work to get the project to the point where actual construction of the Garden can begin. DVD Volume 1 - Suite #2- The Sound of the Carceri, directed by François Girard. Yo-Yo Ma brings the music of the Second Suite together with the etchings of the 18th century Italian architect Giovanni Battista Piranesi in this film. Working out of the church that Piranesi built, Yo-Yo with his sound engineer constructs a reverberant rendition of the Second Suite to fit the computer designed three-dimensional version of Piranesi's Carceri d'invenzione (Prisons of the Imagination) that Girard constructs to have Yo-Yo play in over the course of the film.

As the short was in 3-D, the WB shield was animated especially to appear as if it zoomed up close to the audience.The only obvious concession that Lumber Jack-Rabbit made to the 3-D format was at the very beginning of the cartoon, where the zooming "WB" shield overshoots its mark and nearly crashes into the screen, before pulling back to its correct position. This is complemented by a slight variation on "The Merry-Go-Round Broke Down" theme, wherein the opening twanging sound is more exaggerated and reverberant. While this effect can be attributed only to this one short, the shield overshooting its mark has become a common motif in tributes and reboots to the Looney Tunes franchise, including in the opening sequence to the 2011 sitcom The Looney Tunes Show.

Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, and reverberant textures.Michael Veal (2013), Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 85–86, Wesleyan University Press The music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, and Scientist.Michael Veal (2013), Dub: Soundscapes and Shattered Songs in Jamaican Reggae, pages 26–44, "Electronic Music in Jamaica", Wesleyan University Press Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète.

Lainhart's animations and short films have been shown at festivals in the United States, the United Kingdom, Canada, Portugal, Italy, France, Spain, Germany, and Korea, and online at Souvenirs From Earth, ResFest, The New Venue, The Bitscreen, and Streaming Cinema 2.0. His film A Haiku Setting won awards in several categories at the 2002 International Festival of Cinema and Technology in Toronto. In 2009, he was awarded a Film & Media grant by the New York State Council on the Arts for No Other Time, a full-length intermedia performance designed for a large reverberant space, combining live analog electronics with four-channel playback, and high-definition computer-animated film projection. In January 2010, he performed as a featured live media audio-visual artist at Netmage 2010 in Bologna, Italy.

Francis Rumsey states in the 2011 article 'Whose head is it anyway?' that "badly implemented HRTFs can give rise to poor timbral quality, poor externalisation, and a host of other unwanted results". Getting the HRTF data correct is a key point in making the final product a success, and possibly by making the HRTF data as extensive as possible, there will be less room for error such as timbral issues. The HRTFs used for Private Peaceful were designed by measuring impulse responses in a reverberant room, done so to capture a sense of space, but is not very external and there are obvious timbral issues as pointed out by Pike. Juha Merimaa's from Sennheiser Research Laboratories in California discusses using HRTF filters and EQ to reduce timbral issues in his paper entitled 'Modification of HRTF Filters to Reduce Timbral Effects in Binaural Synthesis, Part2: Individual HRTFs' (2010).

With continuing experience, particularly on the upper continental slope in the Gulf of Mexico, the successful prediction of the presence of tubeworm communities continues to improve, however chemosynthetic communities cannot be reliably detected directly using geophysical techniques. Hydrocarbon seeps that allow chemosynthetic communities to exist do modify the geological characteristics in ways that can be remotely detected, but the time scales of co-occurring active seepage and the presence of living communities is always uncertain. These known sediment modifications include (1) precipitation of authigenic carbonate in the form of micronodules, nodules, or rock masses; (2) formation of gas hydrates; (3) modification of sediment composition through concentration of hard chemosynthetic organism remains (such as shell fragments and layers); (4) formation of interstitial gas bubbles or hydrocarbons; and (5) formation of depressions or pockmarks by gas expulsion. These features give rise to acoustic effects such as wipeout zones (no echoes), hard bottoms (strongly reflective echoes), bright spots (reflection enhanced layers), or reverberant layers (Behrens, 1988; Roberts and Neurauter, 1990).

In 1968, Jaffe Holden Acoustics was founded by acoustician Christopher Jaffe in Norwalk, Connecticut. The company first grew from Jaffe’s discovery that lightweight tunable reflector panels placed in the reverberant stage towers of multi-use theatres increased orchestral liveness, intimacy and warmth. Since these designs allowed acousticians to place overhead ceiling reflectors closer to the musicians, the shells improved on stage hearing to the benefit of orchestral ensemble and sectional balance. Some early challenges for JaffeHolden were designing a shell for the Youth Symphony concerts on the South Lawn of the White House sponsored by Jacqueline Kennedy; renovations of Lewisohn Stadium for the Metropolitan Opera and the Hollywood Bowl for the Los Angeles Philharmonic; and the design for the first touring symphonic stage used by the New York Philharmonic for their innovative series of free parks concerts in 1965. Early in the company’s history, while working on a grant for the National Endowment for the Arts, Jaffe realized that the elitist image of orchestral performance and the formal seating arrangement of the typical concert hall were actually reducing attendance at these events.