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The language is wonderful and diverse, we have a dozen terms for almost everything. For almost everything. The unfortunate exception is echo, which is a single word, and which alone makes it impossible to express exactly what type of echo we are talking about. The basic definition is easiest to describe with an exclamation point in the traditional well when the “haho” returns to the surface in multiplication. It is a popular game for children and adults, which can also be enjoyed in the mountains. But this is just one of the phenomena. It is also an echo, for example, when in a church or concert hall our cry is heard for a long time and is especially slowly muted. Although in physical terms about the same thing happens in both cases, brain receptors reverse incoming stimuli differently. In room acoustics, we try to control and optimize this.

Can the language update come now?

Somehow so. Because the psycho-acoustic end result of the two phenomena is different, then a new conceptualization is essential. Of course, part of the truth is that this accuracy is needed primarily in professional circles, because in everyday life, both variations fit into the echo as an expression. However, from a sound point of view, it is important to distinguish between the two.

So here’s the concept: echo, sound delay, and reverberation. Yet our mother tongue is productive because these words are a great way to describe the phenomena they represent. In particular, the concepts are eloquent even without competence, ie they shed light on what they are about. However, the practice is not so sterile at all. As is the case in other areas, the individual phenomena intertwine. So, for example, a delay can be used to create both a reverb and an echo.

What about the English?

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The suggestion is valid, especially since English-language devices appear in most sound studios, so the acquisition of basic language skills is inevitable from the outset. What is even more advantageous in this situation is that in English both phenomena can be categorically separated from each other. That way, everything can be in place, without any misunderstandings. So now for a tiny language class. The word echo means echo. Reverberation, or as pretty much everyone knows and uses it, reverb means on the one hand reflection, on the other hand reverberation, echo, multiple reflection, reverberation. The word delay means delay.

It is clear from the above that all three terms describe a single phenomenon, the resurgence of sound after the sound has been uttered. Well, after all, what’s the difference between them? The formula is simpler than once, even if everything seems chaotic at first glance. So we can really measure the difference between them in three ways: in time, in intensity, and in the number of repetitions.

Can the echoes be grouped?

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Yes. So we will now try to clarify this reverberant issue in this way. The first team includes echoes for which the reflections are well separated from the source sound. Let this be the echo. Also included are delaying effects that delay the sound of an instrument to match the tempo of the music. Officially, this runs as tempo delay. In this case, too, the source sounds and the delayed sounds are separated in a listening way. The other issue, of course, is that the primary purpose of these effects is not to echo, but to absolve a kind of musical solution.

In the other group, the source sound is not separated from the echo, but creates a sense of space or the illusion of a sense of space. Reverberation and delay are given space and space in this set. Or as we have already taken over reverb and delay in English class above.

Is it worth differentiating between the two guards according to what they are for – beyond echo, of course? What do we think? The fact that the tools of the first team play a creative role in the first place, i.e. as effects prevail. On the other hand, the members of the second group excel in creating spatiality or a specific sound, and the recordings and mixes can also gain depth through their intervention. So with their help, another dimension can be created. Sounds exciting, right? It is also! Undoubtedly, we are talking about a creative process, the end results of which are, well, music for the ears. The space can appear concretely in this form, ie the sounds can be placed in rooms and spaces of your choice.

Is it worth going beyond the traditional echo dimension?

From the above, it can be clearly seen that it is a very good idea to delve into the profession a bit, because the issue of echo is so diverse and multifaceted that it is worth getting to know and even say better, experience. Because although the words define each category relatively well, it is an indisputable fact that one’s own experiences are the most enduring and at the same time the most eloquent.

Indeed, the gates of a hitherto unimagined dimension can be revealed, through which a world of sound that we have had no idea or vague idea so far can be revealed. And it’s not over yet, let’s move on!

Information used:

https://en.wikipedia.org/wiki/Psychoacousticshttps://en.wikipedia.org/wiki/Sound_localizationhttp://www.peterbremen.com/projects/doublesoundselevation/https://www.youtube.com/watch?

v = _H1abPcHFwkhttp: //www.physicsclassroom.com/mmedia/waves/er.cfmhttps: //en.wikipedia.org/wiki/Reverberationhttp: //hyperphysics.phy-astr.gsu.edu/hbase/Acoustic/reverb. html

https://microchips-sound-studio.blogspot.com/2017/05/visszhangositas-elso-resz.html

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