Influence of Rear-Wall Reflection Patterns in Live-End-Dead-End-Type Recording Studio Control Rooms

Wrightson J, Berger R. Influence of Rear-Wall Reflection Patterns in Live-End-Dead-End-Type Recording Studio Control Rooms. J Audio Eng Soc. 1986;34(10):796-803. Available from: https://aes.org/publications/elibrary-page/?id=5242

@article{Wrightson1986_5242,
  author = {Wrightson, Jack and Berger, Russ},
  title = {{Influence of Rear-Wall Reflection Patterns in Live-End-Dead-End-Type Recording Studio Control Rooms}},
  journal = {Journal of the Audio Engineering Society},
  volume = {34},
  number = {10},
  pages = {796--803},
  year = {1986},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=5242}
}

TY  - JOUR
TI  - Influence of Rear-Wall Reflection Patterns in Live-End-Dead-End-Type Recording Studio Control Rooms
AU  - Wrightson, Jack
AU  - Berger, Russ
T2  - Journal of the Audio Engineering Society
J2  - J. Audio Eng. Soc.
VL  - 34
IS  - 10
SP  - 796
EP  - 803
PY  - 1986
DA  - 1986/10/06
UR  - https://aes.org/publications/elibrary-page/?id=5242
PB  - Audio Engineering Society
LA  - en
AB  - The original statement of LEDE control room design theory advocated the use of diffuse energy composed of reflections, highly interwoven in time, and "significant" reflections from the rear wall of the room to trigger the precedence effect and render these and subsequent room reflections inaudible. Variations of this concept introduced high-amplitude specular reflections from the rear of the room to "ensure" the operation of the precedence effect. Experiments are described which indicate not only that these significant specular reflections are audible but also that their presence results in substantially altered localization and stereo imaging. These experiments have yielded a technique for repeatable comparison of imaging characteristics of control rooms outside of the original environment.
ER  -