Delving Into What Controls the Emotional Connection to the Music

[MylesBAstor]

hall emotion.pdf

[MylesBAstor]

[Rust]

Basically what the better engineers/producers have known since forever, a little reverb (call it a wet sound) is perceived as better than no reverb (a dry sound). I have a recording of Peggy Lee singing fever with absolutely no reverb and the same song with a bit of reverb added to the vocals. The version with reverb, to me, sounds much better.

The design and use of reverberant space considerably predates any concert hall or organized orchestra, simply look at any of the cathedrals in the world. And acoustic design, look at any ancient amphitheater. Basically the studies attempt to quantify what has been known for millennia. Which is a good thing if it prevents construction of lousy halls.

[MylesBAstor]

Basically what the better engineers/producers have known since forever, a little reverb (call it a wet sound) is perceived as better than no reverb (a dry sound). I have a recording of Peggy Lee singing fever with absolutely no reverb and the same song with a bit of reverb added to the vocals. The version with reverb, to me, sounds much better.

The design and use of reverberant space considerably predates any concert hall or organized orchestra, simply look at any of the cathedrals in the world. And acoustic design, look at any ancient amphitheater. Basically the studies attempt to quantify what has been known for millennia. Which is a good thing if it prevents construction of lousy halls.

Of course the issue with reverberant places is not having the reflected sound drowning out the direct sound. Not necessarily an easy task.

Talked about that years ago in an interview with Tony Faulkner in Ultimate Audio magazine.