Spring Reverb


Posted on Feb 7, 2014

A listener standing some distance from a sound source will perceive sound that is actually a combination of direct sound and indirect sound that has been reflected from the boundaries of the listening area. The reflections are referred to as reverberation. Reverb can enhance the perceived sound from a source by adding depth, color and liveliness.


Spring Reverb
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Imagine you are inside a large hall and you clap your hands once. The length of time required for the arrival of the very first reflections is called the delay time (usually on the order of tens of milliseconds, e. g. 33 ms) and is related to the volume of the room (or distance of the reflective surfaces from the listener). The number and density of reflections increases rapidly with time and they become cluttered while simultaneously decreasing in level until they are no longer audible. The length of time required for a sound to decrease in level by 60 dB is called the decay time (usually on the order of a few seconds, e. g. 3 s) and is related to the acoustical properties of the reflective surfaces in the listening area. For example, poured concrete walls will reflect more (absorb less) acoustic energy than drywall. Laurens Hammond of Illinois popularized the use of artificial reverberation devices through his church organs in the 1940`s and 1950`s. The early (pre-B-3 ®) Hammond ®organs were sold to churches on the principle that organ music is greatly enhanced by reverberation, but the minister`s speech in the church is hampered by reverberation. Therefore, churches were designed to be acoustically dead, and the Hammond ®organ had to have its own artificial reverberation. "1 [Reverberation] made its debut in the Fender ®line as a separate item, using a spring [unit] bought from Hammond ®, [in] 1961. It was first...




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