Bedienungsanleitung Native Raum (Seite 23 von 26) (Englisch)

707124

Zoom out

Zoom in

Vorherige Seite

1/26

Nächste Seite

11. INTERVIEW ABOUT RAUM

Learn more about RAUM, its development, and reverb effects in general in this interview with Prin-

cipal Software Engineer Dr. Julian Parker.

What was your role in the RAUM project?

I did development in terms of the reverb algorithm itself, and also in terms of tuning it, giving it an

aesthetic perspective.

Can you elaborate on what the reverb algorithm is and how it relates to the final product?

The Grounded and Airy algorithms in RAUM are based on the idea of the feedback delay network,

which consists of a lot of delay lines. They are all connected together by what is essentially a big

mixer. In technical terms you would call it a matrix, a big grid of numbers that is describing the con-

nection between all the delay lines.

The smoothness of a reverb is defined by how many resonances you can generate. A metallic

sounding reverb does not have many resonances, just like a boxy room does not have many reso-

nances. Whereas, a room that has a more irregular geometry sounds much more smooth. I no-

ticed that the way people were using these feedback matrices was not optimal, because you would

end up with resonances placed on top of each other at the same frequency. They just make that

part louder instead of adding more density to the reverb. The Dense mode in Airy and Grounded

was designed to give the most density possible. That was the initial spark for the project in techni-

cal terms.

The other thing I wanted to do when I initially designed the algorithms was to try and make the

early reflections integral to the reverb network itself. The traditional way of dealing with early re-

flections was to have two things in parallel. You had the bit that generated your late reverb, which

is diffuse. And then you had a completely separate, parallel structure that would do the early re-

flections, which is very flexible because you can design them specifically, separately. But then you

have this really subjective task of balancing the early reflections and making them flow into the tail

in a believable way. And that is quite difficult.

So in this case some of the challenging complexity of reverb is solved by a new take on

how early reflections are generated.

Yeah, exactly. Instead of having a separate, parallel structure for the early reflections, you actually

take the early reflections from inside the main reverb, in a very specific way. So you know, my first

echo is going to come from this delay line, which has this length, and my second echo is going to

come from that other delay line, which has that length. But they are present in the overall reverb

anyway. This means that any time that is present in the reflections is also there in the build up of

the late, diffuse tail. Which is of course what would happen in reality, because you have got sound

bouncing around and build up until it turns into a wash. So, this is an attempt to unify those two

things.

As far as I know, the basic technique of the feedback delay network goes back at least two

decades or maybe three. Did any of the existing devices play a role in the development of

RAUM?

Interview about RAUM

21 RAUM Manual

Missbrauch melden von Frage und/oder Antwort

Libble nimmt den Missbrauch seiner Dienste sehr ernst. Wir setzen uns dafür ein, derartige Missbrauchsfälle gemäß den Gesetzen Ihres Heimatlandes zu behandeln. Wenn Sie eine Meldung übermitteln, überprüfen wir Ihre Informationen und ergreifen entsprechende Maßnahmen. Wir melden uns nur dann wieder bei Ihnen, wenn wir weitere Einzelheiten wissen müssen oder weitere Informationen für Sie haben.

Native Raum Seite 23

Brauchen Sie Hilfe? Stellen Sie Ihre Frage.

Missbrauch melden von Frage und/oder Antwort

Art des Missbrauchs:

Forenregeln

Neu registrieren

Das Handbuch wird per E-Mail gesendet. Überprüfen Sie ihre E-Mail.

Ihre Frage wurde zu diesem Forum hinzugefügt

Info