Acoustics

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High-Denition 19 Rack Unit with
24 Channels of Simultaneous Uncorrelated
Reverb Supporting Extreme Surround Formats
Multi-Eects Processors
REVERB TWENTYFOUR
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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.
135
246
Engine 1
Engine 1
PA
PA
Stage
4 m2.4 m
Mics
7
8
Ceiling
speakers
Speakers
at ear height
10
11
12
13
14
15
16
Engine 2
Group 1
Group 2
917
18
19
20
21
22
23
24
Engine 3
Group 1
Group 2
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.
Numbers=MADI
Channels
Speaker 7 and 8 are
optional
Microphones are
wide cardoid type
e.g. DPA 4015