PART ONE BY MICHAEL GERZON
rI`HE recent introduction of high -quality
electronic audio delay lines using integra-
ted circuitry is an exciting new development in
the generation of synthetic reverberation. How-
ever, delay lines are essentially monophonic
devices, whereas much of the modern demand
for synthetic reverberation requires a two
channel, or even a four channel, spread of
reverberation. One of the most promising uses
of synthetic reverberation is not merely to add
a richness to sounds, but also to simulate the
changes in reverberation quality that occur
naturally as the position of a live sound is
altered. The challenge that faces new genera-
tion reverberation devices is thus two -fold: to
provide a spread of reverberation rather than
a few discrete sources; and to provide changes
in the quality of reverberation to simulate the
effect of sound sources occupying quite distinct
positions.
For the foreseeable future the cost of elec-
tronic delay lines is likely to remain quite high,
and so we are faced with the problem of
generating convincing reverberation using as
few of them as possible. The following account
suggests possible new configurations of delay
units to achieve the above aims economically;
a sketch is given of the principles of the
suggested mode of use, which is called the
`orthogonal matrix feedback' technique.
Basically, `reverberation' is merely the effect
obtained by adding to a sound a succession of
delayed versions of that sound. Reverberation
is distinguished from `echo' or `flutter-echo' by
the large number of, and the short duration
between, the successive delayed sounds. To
qualify as reverberation the time intervals
between successive delayed sounds should be
less than 30 ms, and these intervals should grow
shorter and more random as the reverberation
dies away.
For stereophonic use it is additionally
important that the various delayed sounds are
directionally homogeneous, i.e. come from
more or less random directions; this is more
important for later delays than the earlier ones
since in real life early reflections often arrive
from walls close to the original sound.
Up to now there have been three methods of
providing stereophonic reverberation, all with
disadvantages. The first is to use a stereo pair
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of microphones in a reverberation chamber in
which the sound is reproduced over one or
more loudspeakers. While capable of excellent
quality, this method offers little control over
the reverb quality and is rather impractical in
its demands on space and its susceptibility to
acoustic interference. A second method has
been to pan -pot several monophonic reverb
signals into the stereo image. This does not
give a convincing stereo spread. The third,
most widely accepted method, is to use a so-
called stereo reverb plate, which in fact is a
reverb plate with a monophonic input and with
two spaced pick -ups on the plate to provide an
output with stereo spread. One disadvantage
here is that precisely the same pattern of
reverberation is imposed on all sound inputs,
rather than a pattern continuously varying with
the reproduced position of the sound. Another
difficulty with stereo reverb plates is that the
stereo spread of the reverb is non -ideal if
spaced pick-ups are used. Coincident direc-
tional pick-ups on the two -dimensional plate
can, however, give a more uniform stereo
spread of reverberation.
Clearly we cannot produce a convincing
stereo spread from a single monophonic rever-
beration device, whatever its operating prin-
ciple. At first sight it would seem that two such
devices would be hardly more adequate for
producing a continuous spread-but then how
often have first appearances proved deceptive?
Let us suppose that two mono reverb devices
are available, and that these have differing
delay times. For the purposes of the following
discussion it is convenient to regard them as
simple delay lines, although in principle more
complex devices such as reverberation springs
could also be used in the manner suggested.
The simplest way of turning a delay line into
a reverberation device is to apply feedback. If
the output of the line is fed back and mixed
with the input, then the signal will go through
the line time and time again (fig 1). If the delay
in the line is T milliseconds then signals will
emerge at times T, 2T, 3T, etc. Such a rever-
beration sounds exceedingly monotonous.
Another consideration is that if the signal
acquires a gain of x dB after one passage
through the delay line and feedback path, then
it will acquire a gain of Nx dB after N passages
632
through the feedback loop. The gain of the delayed signal can pass through the system in
feedback loop thus has to be less than one to 3 ( = 3C2) ways, and so has an amplitude gain
avoid build -up and howl -round and this has
of three times that of signals that have passed
to hold at all frequencies. In order that the through just one line three times. Similarly,
delay T be short enough (30 ms) to be accept- the (say) 4T1 +3T2 signal can have passed
(-FIG
I BASIC FEEDBACK REVERE UNIT able for reverberation and that the reverbera- through the system in 35 (---7C4) different ways,
tion time be of the order of two seconds it is and has an amplitude gain 35 times that of
necessary for the sound to attenuate about signals that have passed through just one line
60 dB after 60 passes through the feedback seven times.
A00 loop. Thus to prevent an excessive variation
DELAY LINE Thus it will be seen that the feedback system
of reverberation time, the gain of the whole
of fig 2 rapidly emphasises the 'cross- delayed'
feedback loop must lie within the range dB signals that have passed through both lines, as
to -14 dB at all frequencies. If at any frequency
compared to the 'repeat-delayed' signals that
the gain of the delay line is a mere dB too
1
have just kept going round and round one of
high howl -round will result.
the lines. However, the cross-delays will only
Thus delay lines used in a feedback mode to have the desirable property of being reasonably
provide reverberation have to meet stringent
random if the two basic delays Ti and T_ are
frequency response requirements which a tape
incommensurable, i.e. if the ratio T, /T2 cannot
delay meets only after careful trimming of the
CI be expressed as a simple fraction. If T, /T,
7 frequency response, and even then the problem
of consistency arises. Most so- called reverbera-
tion units based on tape involve time delays
were a fraction of the form n /m, then the cross -
delay mT1 +nT2 would be the same as the
repeat-delays 2mT1 and 2nT2, which would
much longer than the required 30 ms and
J produce flutter -echo. Magnetic drum or disc
cause much of the undesirable repeat -delays to
be reinforced by the cross -delays. Ideally, the
delays are potentially better, as consistency is
ratio T, /T2 should be as far from all fractions
ensured by the lack of physical contact of the
FIG. 2 FEEDBACK REVERB UNIT USING with a small numerator or denominator as
T )ISSIMILAR DELAY LINES magnetic heads with the drum or disc. How-
possible, and should be between # and 1 but
ever, purely electronic delays should prove
not too close to either. In these respects, the
superior to either, although their technological
LIME Grampian monophonic spring delay is near
1
glamour should not disguise the usefulness of
ideal, with its two spring delays of 29 and 37 ms
magnetic drums or discs.
ADD having ratio 0.784, although the Grampian's
However, the unpleasant reverberation
mechanical feedback system is not quite the
quality obtained by simple feedback is not
.INE 2
really of much interest here and has been
one described here.
It is important to note that the signals that
discussed mainly to make the principles of
have passed through the system of fig 2 in many
more complex feedback systems clear. For
different ways to form a delay mT, +(n-m)T2
monophonic use the monotony of the rever-
will only add up in amplitude if they are in
beration can be greatly reduced by using two
delay units of delay T1 ms and T2 ms respec- phase with one another, and they can only be
in phase if the delay of the two lines does not
N tively corrected in parallel as in fig 2. By
4iDL
placing a feedback loop round the paralleled vary over periods of a few seconds. This means
that the feedback reverb system of fig 2 will
lines sounds may pass successively through
only work as it should with tape delays if the
either of the lines in any order, giving rise to
wow and flutter is low. Because of the
delays of the form T1, T2, 2T1, T1 +T2, 2T2,
J 3T1, 2T1 -f -T2, T2-} 2T1, etc. Furthermore, as statistical nature of speed fluctuations, signals
there are two ways a sound can have a delay that have made 60 traversals of the feedback
loop in two seconds with an rms wow and
Ti +T2, either passing first through the Ti delay
line or first through the T2 delay line, it will be flutter of 0.1 per cent will have a two -thirds
seen that the amplitude of the signal with delay probability of emerging within 0.25 ms of their
TI -I-T2 will be twice as high as that of the 2T1 nominal delay. This indicates that wow and
or 2T2 delayed signals. Similarly, the 2T1 -1-T2 (continued over)
633
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 SYNTHETIC STEREO REVERBERATION
continued
flutter (unweighted !) has to be kept down to
the highest studio standards for frequencies
above I kHz to emerge unattenuated from a
fig 2-type reverb unit using tape delays. In
general, one gets the impression that tape is
being pushed to the limits of its performance
when used to provide reverb, and reliability is
better achieved by working well within the
tolerances of an electronic delay.
In order to prevent howl -round, the gain of
the feedback loop in fig 2 has to be kept well
below unity because of the amplitude build -up
of the cross -delay signals. Were the outputs of
the two delay lines more or less independent
the output energy would be twice the input
energy, as the energy in each of the two lines
would be added. If this were the case, then a
gain of just less than -3 dB would prevent
howl-round. However, an analysis of the
coefficients nCm of the mTl +(n -m)T2 delayed
signals show that a gain of less than half
(-6 dB) is necessary to prevent howl- round;
the energy in such a feedback system with gain
just over half can only build up if the signals
in the two lines are virtually identical, and a
detailed analysis indeed shows that the sounds
in the two lines become virtually identical after
many passes.
This shows that one cannot get reverb with
a good stereo spread by taking the two outputs
of the lines in fig 2, as, surprisingly, the reverb
from the two lines coalesces into the middle as
it decays. Another curious feature of the
system of fig 2 is that the reverb dies away
faster than exponentially by a small extra factor
proportional to the inverse of the square root
of time elapsed.
The ground has now been prepared for
describing a stereophonic reverberation unit
using just two delay lines. The basic circuit of
a two line stereophonic reverberation unit is
shown in fig 3. In such a unit, a two channel
stereo signal, which is to be reverberated, is fed
into the two delay lines, one channel into each.
The signals L and R emerging from the two
delay lines are then fed into a matrix circuit
FIG. 5 WEAKLY- COUPLED PAIR OF STEREOPHONIC REVERBERATION UNITS
-1
DELAY LINE
ADC DELAY LINE 2
NPUTS
ADO DELAY LINE
ADO DELAY LINE
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producing two outputs of the form:
FIG 3 BASIC STEREOPHONIC REVERBERATION UNIT
USING TWO DISSIMILAR DELAY LINES
a11L +a12R
and L1=
R1= a21L +a22R (1 )
These matrixed signals 1.1 and R' provide a
GAIN stereophonic output, and are also fed back and
CONTROL
mixed in with the respective channels of the
input to the two delay lines, as in fig 3. Basically
this feedback system provides a preponderance
of cross- delays in a similar manner to the
A0D DELAY LINE 1
monophonic feedback unit of fig 2. The differ-
ence is that a large degree of independence is
OUTPUTS
INPUTS GANGED! MATRIX
retained between the two channels, as long as
the four coefficients of the matrix (formula
(1)) are chosen suitably.
DELAY LINE 2
The monophonic unit of fig 2 may be
considered as a special case of the above stereo
I
unit in which the four coefficients in formula
GAIN (1) are all unity. This indicates that to obtain
CONTROL
a genuine stereophonic reverb the matrix
coefficients have to be chosen carefully. The
V factorily resolved. However, certain properties
simplest way of ensuring that the reverberation
energy dies away according to the proper
exponential law without any anomalous
behaviour is to require that the total energy of
FIG. 4 N- CHANNEL ORTHOGONAL MATRIX FEEDBACK REVERBERATION UNIT
the two outputs from the matrix be precisely
the same as the total combined energy of the
two input signals. By this means, as long as the
GANGED total energy gain of the two channel feedback
GAIN CONTROLS; loop is set at less than unity the reverberation
will die away in a uniform manner, as on the
n +1'th pass through the lines the stereo energy
will be less than on the n lth pass by a factor
equal to the loop gain. This can only be the
case for all possible input signals if passage
through the matrix leaves the total energy
1 unaltered.
ADD DELAY LINE 1
A matrix circuit with N inputs and N outputs
t
is said to be orthogonal if, whatever the input
2
ADO --1 DELAY LINE 2 Ho-
ORTHOGONAL
signals happen to be, the combined energy of
the N output signals always equals the com-
bined energy of the N input signals. This is
MATRIX
equivalent to saying that the coefficients of the
matrixing form an orthogonal matrix in the
INPUTS
usual mathematical sense. In the circuit of
-
fig 3, we have required that the matrix used to
derive the feedback signal be orthogonal, and
4'0
DELAY LINE N
this means that formula (1) describing the
J matrixing becomes:
L1 =L cos 0-R sine
and R, =L sin O-FR cos() } (1)
for some value of the parameter O. If the value
of O is 0 °, then the signal fed back to the input
1
P GAIN
ORTHOGONAL
MATRIX
8
ORTHOGONAL
MATRIX
SMALL R
of each line is the output of just that line, and
one merely has two crude monophonic reverb
units as in fig 1; these will not give a good
stereo spread. If the value of O is small, say
+1° or ±2°, then there is in addition a small
amount of energy bleeding from one line to the
other. This situation is described by saying
that the two lines are weakly cross-coupled, and
this situation is analogous to two reverberant
GAIN
rooms connected by a doorway; each room has
/ /4 OUTS.
its own reverberant quality, which is modified
GAIN by the leakage of reverberation through the
doorway from the other room.
3
The situation of most practical interest is
when there is strong cross -coupling between
ORTHOGONAL
MATRIX
ORTHOGONAL the two lines, corresponding to 0 taking values
MATRIX
8`?L5' SMALL 8
between, say, +10° and +80 °. In this case, the
l signal with a cross -delay mT,+(n -m)T2 can
have passed through the two delay lines in a
large number of different possible ways, and
will have acquired a different gain on each
journey through having passed through the
634
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matrix of formula (2) n times. The component
of this cross -delayed signal emerging from one
delay line will in general have a quite different
amplitude gain to that component emerging
from the other line, due to the differing
experiences of the signal with delay mT,+
(n-m)T, depending on which of the two lines
it passed through on its i'th passage round the
feedback loop. The reproduced stereo position
of the signal with cross -delay mT, +(n -m)T2
depends on the relative amplitudes of the
components emerging from the two delay lines.
While this process is not easy to visualise, the
result is that different cross-delayed signals are
reproduced from a wide variety of different
stereo positions, giving a stereo spread of
reverberation.
Unfortunately, the mathematical analysis of
such reverb units is much tougher than the
simple system of fig 2, and has not been satis-
of the abstract formalism (the absence of
frequency independent eigenvectors of the
complex matrix describing the feedback loop)
suggest that, after enough passes through the
system, the reverberation energy ought to
become evenly spread across the whole stereo
image, with an equal amount of reverb energy
being concentrated in every direction in the
stereo groove if the reverb is imagined to be
recorded on a stereo record. This means that
there is as much reverb in phase as out of phase,
and the reverb should be ideal for matrix -
system surround sound reproduction via the
Sansui or Hafler systems. Such a reverb
distribution is the same as given by 90 °- angled
coincident crossed figure -of-eight microphones.
However, if the degree of cross-coupling
(i.e. 0) is substantially less than, say, 20° the
reverberation energy will at first cluster near
the two channels, and take an appreciable
fraction of a second to spread across the whole
stereo image. This behaviour nicely simulates
the live situation where early delayed sounds
come from near the direct sound. On the other
hand, values of 0 around 45° will more quickly
suppress repeat- delays, and give a uniform
reverb spread far more quickly. Much experi-
ment is clearly needed to find the optimum
orthogonal feedback matrices for various
effects.
The orthogonal matrix feedback reverb unit
can be modified in a number of minor ways:
the reverb can be taken direct from the two
delay line outputs before the matrix and one/
both feedback paths can include phase inver-
sion of the fed back signals. As before, it is
important to ensure that the gains of the feed-
back paths and delay lines are precisely right
at all operating frequencies. For the same
reasons, the coefficients of the feedback matrix
should be adjusted accurately, using com-
ponents of at least one per cent accuracy.
Whereas the effect of wow and flutter in a
monophonic reverb unit is to attenuate the
treble of delayed echos, in the case of an
orthogonal feedback unit its effect k to smear
the position of the treble of echos, without any
attenuation.
One problem is that good electronic delays
do not yet seem to be available in incommen-
surable pairs of values. For instance, the
Gotham lines are only available in precise
multiples of 5 mS. It is very important for the
delays to be incommensurable for the stereo
635
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spread to be obtained. Hopefully, manufac-
turers will soon remedy this deficiency, as will
be discussed further in part two of this article.
If more than two delay lines are available,
then there is great scope for experiment with
special effects. If N delay lines of delay T,.....
TN are available which are mutually incom-
mensurable (i.e. no ratio Ti /Ti has small
numerator or denominator), then an N -line
orthogonal matrix feedback reverb unit will
be as in fig 4. There is a great richness in the
variety of possible orthogonal matrixing that
can be used, the number of parameters capable
of being varied being -1-N(N -1). If none of the
coefficients of the matrix is small, then there is
a strong cross-coupling between all the delay
lines, and I would expect the reverberation
energy rapidly to become uniformly distributed
among the N channels. (The precise definition
of `uniformly distributed' would take us into
the higher maths of elliptic geometry but the
intuitive meaning is clear enough.) Thus three
or four mutually incommensurable delay lines
should be enough to provide a high-grade four
channel reverberation although a detailed
analysis shows that, ideally, quadraphonic
reverberation should not be distributed
completely uniformly.
It seems likely that orthogonal matrix feed-
back techniques will come into their own once
units combining strong coupling between some
lines and weak coupling between others are
used. As a simple example of the possibilities.
consider the reverb unit of fig 5, using four
mutually incommensurable delay lines. To a
first approximation lines one and two are
coupled strongly as a two channel reverb unit,
and lines three and four are similarly coupled
together. In addition there is a weak cross -
coupling between the two channel unit contain-
ing lines one and two, and the two channel unit
containing lines three and four. By our earlier
analogy we have two acoustics with a certain
degree of leakage from one to the other. If the
degree of cross -coupling is not too weak then
the two acoustics will become completely inter-
mixed after a fraction of a second, but not
initially. It thus seems likely that we can
simulate the effect of different sounds lying in
different parts of a building by feeding them
into inputs one and two only for one part of
the imagined building, into inputs three and
four for another part of the imagined building,
and into both sets of inputs for intermediate
positions. A two channel output can represent
microphones in the first part of the building by
using outputs one and two, can represent
microphones in the second part of the building
by using outputs three and four, and other
positions by matrixing these outputs together
in different ways.
More complex modes of cross -coupling can
be envisaged for more accurate simulation of
real acoustics and much experiment will be
needed to test the subjective effect of all these
theoretical proposals. Meanwhile, it is possible
that orthogonal matrix feedback will prove to
be an economical means of using electronic
audio delay lines to provide synthetic stereo
reverberation.
Next month, methods will be described for
ensuring;that the reverberation has an uncolou red
quality, and suggestions will be given for the
design of an economical electronic stereo
reverb unit.
 SZ tiZ
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