Manual

18. Acoustics Enhancement
The Reverb TwentyFour features a high degree of de-correlation between the
reverb channels, in addition to the amazing sonic detail and exibility of its
rst-class algorithm. This makes the Reverb TwentyFour an excellent choice for
changing the acoustics in a multi-purpose venue.
Here are some typical venues where you might use the Reverb TwentyFour to
electrically change the acoustics to suit the performance type:
House of Worship – Here the acoustics can be changed to suit various aspects
of church life and services, such as concerts of various genres, singing, choir
music, in addition to the spoken word and readings. Wooden churches and
small chapels can benet by sounding more like classical stone churches and for
concerts, performances and speech.
Concert Halls – Those that are intended for a wide variety of uses, such as rock,
theatre, jazz, opera, and classical music.
Outdoor Concerts – Here you may want to add the sound of a concert hall for
example, or other acoustical enhancements in an outdoor environment.
Museums – Here you can add all sorts of sound changes to the exhibit
environment, and enhance the museum experience for visitors.
Cruise Ships – Here the acoustics can be changed to suit a wide range of indoor
and on-deck entertainment including song, dance, concerts, lectures, children's
shows, and musicals.
Acoustics Enhancement Presets
The Reverb TwentyFour supports acoustics enhancement with a Presets group
called “F5: Acoustics, RT60.” This group contains 6 presets for dierent decay
times: 0.6, 0.8, 1.2, 1.8, 2.2 and 2.7 sec RT60. (RT60 is the time it takes for the
sound to decay by 60 dB after the sound source stops).
As an example, using the Reverb TwentyFour, you may be able to extend the
decay time (RT60) of a venue by a factor of 2 from its original time.
The reverb eld made by the Reverb TwentyFour and received at the audience
seats, is extremely even and it is dicult to point out the individual speakers. The
lack of any comb-ltering and phasing issues between the reverbing speakers
also results in maximum headroom before there is any acoustical feedback to the
stage microphones. This gives the opportunity to use less-directive microphones
over the stage.
A Typical Acoustics Enhancement System
• The audience receives the direct sound from the performance either
acoustically or through a PA system.
• The audience receives the reverb eld from reverb speakers mounted above,
behind, and to the sides of the audience, as shown in the diagram below.
• An acoustics enhancement system used in a multi-purpose venue, often
consists of the following:
• Microphones picking up the sound signals over the stage.
(For example, a wide cardoid type such as the 4015 manufactured by
DPA Microphones).
• Good-quality microphone preampliers.
• The use of soft multi-band compression can give great results when
added to the chain.
• MADI equipment to convert to and from MADI.
• The signals are sent via MADI to the Reverb TwentyFour and from there,
MADI out to the multi-channel amplication system and the individual
speakers – one per reverb channel.
• By using two Reverb TwentyFour units, up to 48 fully de-correlated
channels are possible.
Assumptions for an Acoustics Enhancement System
• All reverb speakers are calibrated to play identical levels.
• The speakers should be able to reproduce signals well down to 100 Hz.
• The input to the system is stereo. Dierent input routing in the Reverb
TwentyFour can accommodate input formats such as 5.1 and 7.1.
• All reverb speakers are playing the reverb 100% wet.
• The speakers are mounted in the venue ceiling and at the sides and rear of
the venue at ear height. The distance between the speakers is often
between 3 to 6 meters, but it depends on the distance from the audience
to the speakers.
135
246
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
Engine 1
Engine 1
Engine 2
PA
PA
Stage
Numbers = MADI channels
Speaker 7 and 8 are optional
Microphones are wide cardoid type e.g. DPA 4015
4 m
2.4 m
Mics
7
8
Group 1
Group 2
Engine 3
Group 1
Group 2
Ceiling speakers
Speakers at ear height
45 REVERB TWENTYFOUR Owner’s Manual