This room modelling program solves the wave equation in 3-D spaces, here a specific large concert hall of volume 12,500 cubic meters (for 44,100 samples/sec*) with the “Golden Ratio” for its dimensions.
This version allows rotation of the microphones around and around (equivalently the room about the microphones) at different speeds.
Binaural version of room acoustics modelling program RoomConvp. Used for headphone mixing. Binaural examples of mixing are available at SoundCloud under EXE Consulting.
Please see YouTube channel for EXE Consulting for introductory tutorial video or click HERE.
Please see SoundCloud for EXE Consulting for songs that employ these room acoustics modellers or click HERE.
(*) 9,694 cubic meters for 48,000; 1,462.5 cubic meters for 88,200; 1,212 cubic meters for 96,000. In other words, much smaller room size for higher rates. This may change for future versions.
Additional Notes for Room Acoustics Modellers
See Green’s Function Notes on the “TECH” page which briefly discuss the starting point from which the Acoustic Modelling Program was developed. RoomConvp actually manipulates the vector components of solutions for pressure-gradient (i.e. directional) microphones. This extension is not discussed in Green’s Function Notes, being left as an exercise for intrepid explorers.
You can place sound sources at various angles from the listener at a fixed distance. These various angles are denoted, for example, Center, L22, L32, … , R22, R32, ….
You can adjust the absorption of the walls at both ends, combined, of the principal axes of the room or hall. This gives an appearance of varying distance, but also spreads the sound left and right, changes the tone by emphasizing or de-emphasizing the vector components along a principal axis, etc.
The Volume knobs effectively rotate a virtual directional microphone.
I usually use a different instantiation for every track, not a single instantiation for the master.
All tracks are panned to Center in the DAW mixer because the modelling program does “panning” like it’s actually done in real spaces. Panning and algorithmic reverbs, not to mention the use of ambient, overhead and other types of microphones, almost always screw up the actual, natural acoustics, requiring a delicate balancing act best performed by pros to make the problems less audible. The idea behind acoustic modelling, besides producing good reverb, is to use physical acoustics theory to lessen the burden of obtaining natural-sounding results so that I myself don’t have to struggle with mixing sounds recorded all over a room to obtain good-sounding and believable results.
For instruments recorded in stereo, such as Drums, I have often used the Center (0 degrees), but it sounds better to me to treat each drum-kit piece separately whenever that option is available.