Engineers and musicians are also familiar with the comb filter effect from effect devices such as the phaser or flanger, where it is used for creative sound design. ![]() Close reflections therefore do not produce a beautiful reverberation as known from concert halls and churches, but a potentially strong alteration of the direct signal. The superposition of two (nearly) identical, time-delayed sound waves always leads to dips in the frequency response and to a strong sound alienation, the so-called comb filter effect. via the tabletop, the floor, the ceiling or nearby walls. Through them, the sound from the loudspeaker not only hits our ears in a direct way, but also takes a detour via the reflecting surface, e.g. The biggest enemy of a clean, direct sound wave are close reflective surfaces. So, it is not a matter of eliminating the influence of room acoustics in total, but only of coloring the direct sound from the loudspeakers as little as possible, thus creating a listening environment that is as pleasant and balanced as possible. This is achieved with a stereo speaker setup by creating a reflection pattern that is as neutral (i.e., “diffuse”) as possible in the live end. After all, when music is heard live, reflections behind us also play a certain role in our perception. However, acoustic participation “from behind” is also desirable to enable a stronger feeling of envelopment. In addition, we want a certain comparability, and since the rest of the world is not sitting in an anechoic chamber either, the completely absorptive approach is not promising (and would also be very costly to implement). The sense of hearing represents an important orientation tool for the human organism, and the absence of acoustic reflections has an unpleasant and disorienting effect. Wouldn’t the most obvious thing then be completely anechoic room acoustics? Not quite. How do room acoustics benefit from the LEDE principle? Let’s take a look at the objective of our project: we want to hear exactly what’s coming out of our speakers – no more and no less. The opposite side (in the back of the listener) tends to be fitted with sound-reflecting surfaces designed to distribute sound waves in different directions – this is known as diffusion. So, when setting up a listening environment or control room, the side where the speakers are is fitted with sound absorbers to minimize reflections. “Alive” is the exact opposite: a room that is designed with sound-reflecting surfaces and thus gives a variety of acoustic responses to a sound event. The LEDE principle is rather simple: the front half of the room is designed to be acoustically “dead”, while the back half is kept “alive.” “Dead” is the name given to a room that absorbs sound in a wide frequency range. Here’s how LEDE works and how you can easily apply the acoustic concept to your own room.Ībsorbers in the front, diffusors in the back? Fortunately, there is a simple way to achieve good-sounding room acoustics that has already proven itself in thousands of rooms: Live End Dead End, or LEDE for short. Newcomers to the subject of room acoustics usually find it difficult to correctly assess these influences, because poor room acoustics rarely have anything to do with perceptible reverberation tails. have an elementary and often highly underrated influence on the listening experience. ![]() However, what is often disregarded is the fact that the room acoustics have at least as great an influence on the sound! In other words: with bad acoustics, even the best loudspeaker has no chance! Setup, room symmetry, initial reflections, reverberation times, frequency response etc. It is obvious that the loudspeaker itself plays a decisive role in this, so people are happy to spend some serious money on that behalf. ![]() But how do you achieve this neutral sound reproduction? Whether it’s a home hi-fi room or a professional recording studio the goal is to create a listening environment that’s as neutral as possible this way, the sound you hear has as much in common with the signal source as possible.
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