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Reverb and space: convolution, distance, and 3D audio

  • learner can place a sound in a space using reverb, convolution/impulse responses, and distance/depth cues
  • learner can explain binaural and Ambisonic spatialization — HRTFs, B-format encode/transform/decode — for headphone and multichannel projection

Take a dry mono source and place it in a virtual space three ways: convolve it with a room impulse response, position it in depth with distance cues, and encode it to Ambisonic B-format for a moving spatial pan.

Every sound you synthesize is born dry — a signal with no room around it. In a live-coded set, whether it lands on the audience’s headphones or a club PA, what sells it is placement: a pad that sits far behind the kick, a texture that circles the head, a snare that snaps in a huge-but-truncated space. This module builds one whole skill: taking a dry mono source and putting it somewhere, convincingly, three different ways.

The arc starts supported. First exercise: load an impulse response and convolve a dry clap with it, leaning on the ideas that convolution applies an impulse response to a signal and that convolving a sound with a space’s IR places it acoustically in that space — with the time–frequency duality of convolution explaining why FFT-based engines make this cheap enough for live use. Next you work depth with a plain reverb, drilling the wet/dry-controls-distance cue until pushing a sound back is reflexive. Then the 3D leg: how interaural time, level, and spectral cues let humans localise sound motivates HRTFs, and the ATK’s encode → transform → decode workflow becomes the how-to spine — FoaPanB for a modulatable moving pan, a binaural kernel decoder for headphone monitoring.

The required atoms are exactly the capstone’s dependency chain: no convolution stage without the IR concepts, no moving Ambisonic pan without B-format, the ATK pipeline, and the panning UGen. Supporting atoms widen the craft — critical distance and gated reverb for genre-aware reverb decisions, azimuth conventions and speaker routing for the day you graduate from headphones to a real multichannel rig, the FOA-vs-HOA toolset distinction, higher-order Ambisonics, A-format, and per-grain spatialization as onward paths. The capstone is done unsupported: dry source in, three convincing spaces out.

Runnable examples

Generated from the context/ instrument corpus by concept (redistributable idioms only). Do not edit — regenerate with gen-module-examples.mjs.

reverb-space

s("cp").room(0.6).size(4)

strudel-0019 · CC0

out: mix ~a ~b >> plate 0.3

glicol-0008 · MIT

Atoms in this module

Required — these gate the capstone

Convolution applies an impulse response to a signal, enabling realistic room reverb simulation
Concept L2 First instrument BDF
Convolving a sound with a space's impulse response places that sound acoustically in the space
Principle L2 First instrument BD
Convolution in the time domain equals multiplication in the frequency domain, and vice versa
Principle L2 First instrument B
Reverb amount controls a sound's perceived distance: drier sounds appear closer
Principle L1 Foundations D
Binaural audio uses Head-Related Transfer Functions (HRTFs) to simulate 3D spatial audio over headphones
Concept L3 Craft BD
Humans localise sound using interaural time, level, and spectral cues from the pinnae
Concept L3 Craft BJ
A first-order Ambisonic B-format signal carries full-sphere spatial information in four channels: W, X, Y, Z
Concept L3 Craft BF
The ATK workflow is encode → transform → decode, each stage operating on B-format
Procedure L3 Craft BF
Binaural ATK decoders convolve B-format with HRTFs to simulate how the head filters spatial cues for headphone listening
Concept L3 Craft B
FoaPanB encodes a mono signal to FOA B-format with a dynamically modulatable azimuth and elevation
Procedure L3 Craft BF

Supporting — enrichment, not gating

The ATK provides two toolsets: FOA (first-order, 4-channel) and HOA (higher-order, (n+1)² channels)
Concept L3 Craft BF
Critical distance is where direct sound energy equals reverberant sound energy in a room
Concept L3 Craft BN
Gated reverb cuts the snare reverb tail abruptly for the signature 80s drum sound
Procedure L2 First instrument BD
The ATK uses a right-hand coordinate system: azimuth 0°=front, positive=counter-clockwise, elevation 0°=horizon
Fact L3 Craft BF
ATK decoders output channels in counter-clockwise order starting from front-center; call .directions to verify routing
Fact L3 Craft BF
FOA transformations warp the whole B-format soundfield and are not commutative
Concept L3 Craft BF
Higher-order Ambisonics adds degree-n spherical harmonics to increase soundfield spatial resolution at the cost of (n+1)² channels
Concept L4 Performance B
Ambisonic A-format (tetrahedral microphone raw output) is converted to B-format via a matrix transcoder with correct orientation
Procedure L4 Performance B
Correct Ambisonic format conversion requires matching four parameters: order, component ordering, normalization, and reference radius
Principle L4 Performance BF
Encoding a source at a small radius adds proximity bass boost but distorts dangerously near zero, so clamp the radius and high-pass first
Principle L4 Performance B
First-order Ambisonics encodes a 3D soundfield as four channels (W, X, Y, Z) decoded for any speaker layout
Concept L4 Performance BF
Multichannel reverb mix modulated by source-to-speaker distance models sound spatialization in SuperCollider
Concept L3 Craft BF
Each grain can carry an independent spatial position for three-dimensional microsound projection
Concept L3 Craft B
Sound motion is organized as simple, complex, and compound processes that evolve spectrum, space, or both
Concept L3 Craft BF