So my journey begins with two parts to my project, first I had to get the room’s frequency response of two rooms using Fuzz Measure, with that knowledge add a reverb a equalizer to an anechoic snare to mimic that rooms acoustics. Analysing a room can be really helpful for knowing the room’s suitability for recording and mixing.

I analysed the large empty room next to the lecture theatre and the small drum booth in studio 1. To actually analyse the room Fuzz measure makes a sweep noise from 0Hz to 20Khz in a matter of seconds providing the sweep settings are set to long 10s sweep, 0dB, full range. I armed myself with a laptop to use FM, a speaker to play the signal from FM and a microphone to receive the FM’s signal and an Mbox. And so my journey begins in the large empty room.

So how this works is pretty straight forward, Fuzz measure plays the signal out of channel 1 on the interface, this signal gets sent to the speaker. I set the speaker at a volume that excites the room without actually distorting the signal. The reason you don’t want to distort the signal is simply to avoid playing any other waveform other than a sine wave which is just one frequency on it’s own without any harmonics. So now the mic picks up the signal and in turn the reverberations/acoustics of the room. I did this by making sure it was placed far away from the speaker to avoid just picking up the speaker. I did the same thing for the drum booth.

Photo taken by Liam F…happy now?

**Finding the Standing Waves of a room**

**Large Empty room**

Axis |
Distance |
Wavelength |
Fundamental Frequency (Hz) |

Height |
2.6m | 5.1m | 67.4Hz |

Width |
6m | 12m | 28.6Hz |

Length |
5.9m | 11.8m | 29Hz |

The formula:

Calculating wavelength = Room Measurements x 2

Fundamental Frequency = Speed of sound (344 m/s) ÷ wavelength

Now to find the harmonic frequencies using the fundamental frequency, you will need to calculate the first eight harmonics.

The Formula:

Fundamental Frequency x the number of the harmonic

Now do this with the height, length and width to find the standing waves.

**Height**

Harmonic Modes |
Fundamental Frequency |
Multiply by |
Mode Freq Hz |

Fundamental 1^{st} harmonic |
67.4Hz | Fundamental x 1 | 67.4Hz |

2^{nd }harmonic (octave) |
67.4Hz | Fundamental x 2 | 134.4Hz |

3^{rd }harmonic |
67.4Hz | Fundamental x 3 | 202.2Hz |

4^{th} harmonic |
67.4Hz | Fundamental x 4 | 269.6Hz |

5^{th }harmonic |
67.4Hz | Fundamental x 5 | 337Hz |

6^{th} harmonic |
67.4Hz | Fundamental x 6 | 404.4Hz |

7^{th} harmonic |
67.4Hz | Fundamental x 7 | 471.8Hz |

8^{th} harmonic |
67.4Hz | Fundamental x 8 | 539.2Hz |

**Width**

Harmonic Modes |
Fundamental Frequency |
Multiply by |
Mode Freq Hz |

Fundamental 1^{st} harmonic |
28.6Hz | Fundamental x 1 | 28.6Hz |

2^{nd }harmonic (octave) |
28.6Hz | Fundamental x 2 | 57.2Hz |

3^{rd }harmonic |
28.6Hz | Fundamental x 3 | 85.8Hz |

4^{th} harmonic |
28.6Hz | Fundamental x 4 | 114.4Hz |

5^{th }harmonic |
28.6Hz | Fundamental x 5 | 143Hz |

6^{th} harmonic |
28.6Hz | Fundamental x 6 | 171.6Hz |

7^{th} harmonic |
28.6Hz | Fundamental x 7 | 200.2Hz |

8^{th} harmonic |
28.6Hz | Fundamental x 8 | 228.8Hz |

**Length**

Harmonic Modes |
Fundamental Frequency |
Multiply by |
Mode Freq Hz |

Fundamental 1^{st} harmonic |
29Hz | Fundamental x 1 | 29Hz |

2^{nd }harmonic (octave) |
29Hz | Fundamental x 2 | 58Hz |

3^{rd }harmonic |
29Hz | Fundamental x 3 | 87Hz |

4^{th} harmonic |
29Hz | Fundamental x 4 | 116Hz |

5^{th }harmonic |
29Hz | Fundamental x 5 | 145Hz |

6^{th} harmonic |
29Hz | Fundamental x 6 | 174Hz |

7^{th} harmonic |
29Hz | Fundamental x 7 | 203Hz |

8^{th} harmonic |
29Hz | Fundamental x 8 | 232Hz |

Finally make a table of all the harmonic modes and look for frequencies that repeat or are very close to each other. The repeats will be the standing waves of the room.

**Table of harmonic modes for room**

Harmonic Modes |
Height Axis |
Width Axis |
Length Axis |

Fundamental = half wave | 67.4Hz | 28.6Hz | 29Hz |

2^{nd }harmonic = full wave |
134.4Hz | 57.2Hz | 58Hz |

3^{rd }harmonic =3 x ½ λ |
202.2Hz | 85.8Hz | 87Hz |

4^{th} harmonic =4 x ½ λ |
269.6Hz | 114.4Hz | 116Hz |

5^{th }harmonic =5 x ½ λ |
337Hz | 143Hz | 145Hz |

6^{th} harmonic =6 x ½ λ |
404.4Hz | 171.6Hz | 174Hz |

7^{th} harmonic =7 x ½ λ |
471.8Hz | 200.2Hz | 203Hz |

8^{th} harmonic =8 x ½ λ |
539.2Hz | 228.8Hz | 232Hz |

Now that you know the standing waves, you can use an EQ to rid of the problem frequencies from the diagram above. So from my calculations the problem frequencies will be 25Hz – 30Hz, 55Hz – 60Hz, 80Hz – 90Hz, 110Hz – 120Hz, 140Hz – 145Hz.

The downside is that due to the low resolution the lower frequencies are not going to be accurate.

**Coefficient Absorption**

This is where different materials of a room will determine the reverberance or absorption of sound of objects.

Full absorption is 1 whilst full reflection is 0

Floor materials | 125Hz | 250Hz | 500Hz | 1KHz | 2KHz |

carpet | 0.01 | 0.02 | 0.06 | 0.15 | 0.25 |

So from the chart above we know that depending on the frequency will be the amount that the sound reverberates or absorbs from the material. Therefore, in the large empty room the sound will reverberate most on 125Hz due to the majority of the material on the floor being carpet.

In the drum booth the floor is made of wood, so the reverberations are around 0.03 on 125Hz less compared to carpet.

**Re-creating the snare with fuzz measure results**

The Sabine T60 method is a way of calculating the reverb time. Fuzz measure automatically follows this method to some extent. Basically Sabine calculated the time in which sound completely fades out.

Once I collected the information I started to work on recreating the snare as though it had been played in the large room and drum booth. I did this in P-T and began by importing an audio file of my pre recorded “anechoic snare”. I then made two stereo aux tracks used bus sends to route the anechoic snare to the aux tracks. I used “Dverb” (reverb) and EQ plugins on each track then used Bluecat frequency analyser, ensuring that I follow this exact order.

I had previously screenshot all my fuzz measure results as reference, looking at my results I then played my anechoic snare with the reverb and EQ, and made the frequency spectrum follow the Bluecat frequency analyser.

With my fuzz measure decay time results I set the D-Verb to follow it. With my Drum booth I set the room in D-verb to be Room1, as it sounded more like the size to the large empty room I recorded. Set the delay time to roughly the same as the results too. Once done I EQ’d to match the results from Fuzz measure. From my results frequencies 100Hz and below were around -50 – 60dB so I added a high pass filter to cut them.

EQ: Boosted frequencies around 200Hz +4.7dB, 818Hz +15.7dB, 1.7KHz +15.8dB and 6KHz +7.7dB. I also cut the OUTPUT on the EQ by 7.7dB as it clips in volume.

I matched the fuzz measure analysis quite accurately

For the Drum booth I went through the same procedure, added a high pass for anything below 100Hz, boosted frequencies 440Hz +11dB, 1KHz +9dB, 5Khz +18dB and 10Khz +12dB.

Again the results were simular

**Conclusion**

I found that Snare 5 is the large empty room and snare 2 to be the drum booth as it matched the frequency analysis quite well with the Fuzz measure analysis.