3-5
Algorithms and Parameters
PCM 91
AMBIENCE
While Random Hall effects are designed
to add a cushion of reverberance to
recorded music, while leaving the clarity
of the direct sound unaffected,
Ambience is intended to become a part
of the direct sound — to give it both
better blend and a definite position in
space. Ambience gives warmth,
spaciousness and depth to a
performance without coloring the direct
sound at all.
This algorithm generates primarily the
strong reflections which appear in the
first few hundred milliseconds of the
reverberation process. These early
reflections constitute the primary
audible effect, giving you the impression
of a hall surrounding you while the
music is playing. To avoid any coloration from these strong
reflections, the time delays and amplitudes are random functions.
Ambience is very useful for adding a room sound to recorded
music or speech. It is particularly easy to match a studio recording
of dialog to a typical room environment. In music recording, it
allows you to realistically add distance to a close-miked signal.
If an ensemble has been recorded with close-mic and pan pots,
Ambience can provide the missing blend and depth. The apparent
position of the instruments is preserved in the reverb while the
apparent distance is increased. This algorithm is also useful in
matching a closely miked accent microphone to the overall
2 2.0 2.1 2.2 2.3 2.4
3 3.0 3.1 3.2 3.3 3.4
0 0.0 0.1 0.2 0.3 0.4
1 1.0 1.1 1.2 1.3 1.4
Controls Mix
3.5 3.6 3.7 3.8
In Lvl In Width RvbOutLvl Out Width
Time Decay Decay Lvl Pre Delay DryDly DryDlyMix
Design Size Diffusion Spin Wander High Cut
Modulation *Mod:LFO1 *Mod:LFO2 *Mod:AR Env *Mod:Follow *Mod:Latch *Mod:SW 1 *Mod:SW 2 *Mod:Delay *Mod:S&Hold
Patch Patch 0 Patch 1 Patch 2 Patch 3 Patch 4 Patch 5 Patch 6 Patch 7 Patch 8 Patch 9
Custom *ADJUST *Control 1 *Control 2 KeyWord 2 KeyWord 3 KeyWord 4*Control 3 *Control 4 KeyWord 1
ambience of a recording. This allows a soloist to be increased in
level without changing the apparent distance. Ambience can be
used in a recording situation any time a close-miked sound is
undesirable.
To use the algorithm with a console, it is best to use a stereo send
to the PCM 91, carefully matching the panning of the various
close-miked sources to their positions in the mix. Leave the Mix
control at 100%. The apparent distance of each source can be
controlled by the level of its feed.
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