Quote:
Originally Posted by Koamon
FWIW, I love quality delay, chorus and reverb effects for acoustic guitar. After all reverb is nothing more than the delayed echo of sound waves reflecting off surfaces and returning to the original sound source. Modulation of that echo can come from many variables as well.
"Reverberation (also known as reverb), in acoustics, is a persistence of sound, or echo after a sound is produced. ... Reverberation occurs naturally when a person sings, talks, or plays an instrument acoustically in a hall or performance space with sound-reflective surfaces
Sabine equation
T_{60}= \frac {24\ln10^1}{c_{20}} \frac {V}{Sa}
T_{60} = time it takes for a sound to decay by 60 dB
c_{20} = speed of sound in the room
V = volume of the room (in cubic meters)
S = total surface area of room (in square meters)
a = average absorption coefficient of room surfaces
In an ideal setting the use of mics with no processing would be the most ideal
electronic representation of a guitar performance. Way last century I saw Andres Segovia perform in a a large auditorium with no sound reinforcement whatsoever. He used the size of the auditorium to create his reverb, very awe inspiring. When you plug in with a UST or magnetic p/u, it's game changer. I don't speak for anyone else but I like to judiciously experiment with reverb, delay and chorus effects to improve the raw sound you get everytime you plug in. Your mileage may vary.
|
We would be doing a disservice not to mention other types of reverb other than types produced by natural ambience. That's why quality multi-verb devices give us choices like plate and spring reverbs. In many cases those other reverb effects are preferred, so it's worth considering other reverberation producing techniques.