reverberation time

简明释义

残响时间

英英释义

例句

1.The concert hall was designed with a long reverberation time to enhance the sound quality of orchestral music.

这个音乐厅的设计考虑了较长的混响时间，以增强管弦乐的音质。

2.The recording studio was equipped with materials that controlled the reverberation time for clearer vocal tracks.

录音室配备了控制混响时间的材料，以获得更清晰的声轨。

3.The acoustics engineer measured the reverberation time to ensure optimal sound distribution in the theater.

声学工程师测量了混响时间以确保剧院内的声音分布最佳。

4.In small rooms, a short reverberation time is preferred to avoid echo and improve speech clarity.

在小房间里，较短的混响时间是首选，以避免回声并提高语音清晰度。

5.A longer reverberation time can create a more immersive experience in a large venue.

在大型场馆中，较长的混响时间可以创造更身临其境的体验。

作文

The concept of reverberation time is crucial in the fields of acoustics and architecture. It refers to the time it takes for sound to decay by 60 decibels after the source has stopped producing sound. This measurement is vital for understanding how sound behaves in different environments, whether it be a concert hall, a classroom, or an open space. The reverberation time affects not only the clarity of sound but also the overall auditory experience of the listeners.In concert halls, a longer reverberation time can enhance the richness and warmth of music, allowing notes to linger and blend together beautifully. However, if the reverberation time is too long, it can lead to a muddy sound where individual instruments and vocals become indistinguishable. This is why acousticians work meticulously to design spaces with the appropriate reverberation time tailored to the type of performances that will take place there.On the other hand, in environments like classrooms or conference rooms, a shorter reverberation time is preferred. In such settings, clear communication is key, and excessive reverberation can hinder understanding. A classroom with an optimal reverberation time allows students to hear their teachers clearly without echoes that can confuse the message being conveyed. Therefore, designing these spaces involves careful consideration of materials and shapes that can control sound reflections effectively.To achieve the desired reverberation time, architects and designers often use various acoustic treatments. These may include sound-absorbing panels, carpets, and specially designed ceilings that help manage how sound waves interact with surfaces. For instance, a room with hard surfaces like concrete or tiles will typically have a longer reverberation time compared to one with soft furnishings that absorb sound.Moreover, the reverberation time can vary significantly based on the size and shape of a room. Larger spaces tend to have longer reverberation times due to the increased distance sound waves must travel before they dissipate. Conversely, smaller rooms may have shorter reverberation times, which can make them feel more intimate but can also lead to issues like flutter echoes if not designed properly.In addition to architectural considerations, the reverberation time plays a role in various applications such as film production, where sound engineers aim to replicate authentic acoustic environments. Understanding how reverberation time works allows them to create soundscapes that enhance storytelling and emotional impact.In conclusion, the reverberation time is a fundamental aspect of sound that influences our auditory experiences across different environments. Whether it is in a grand concert hall or a simple classroom, achieving the right balance of reverberation time is essential for effective communication and enjoyment of sound. As we continue to develop new technologies and methods for sound design, the importance of mastering the concept of reverberation time will only grow, ensuring that we can create spaces that resonate beautifully with their intended purposes.

“混响时间”这个概念在声学和建筑领域至关重要。它指的是声音停止发出后，声音衰减60分贝所需的时间。这个测量对于理解声音在不同环境中的行为至关重要，无论是音乐厅、教室还是开放空间。“混响时间”不仅影响声音的清晰度，还影响听众的整体听觉体验。在音乐厅中，较长的“混响时间”可以增强音乐的丰富性和温暖感，使音符得以延续并美妙地融合在一起。然而，如果“混响时间”过长，则可能导致声音模糊，乐器和人声变得难以辨认。这就是为什么声学专家会仔细设计空间，以适应将要进行的表演所需的适当“混响时间”。另一方面，在教室或会议室等环境中，更短的“混响时间”是首选。在这样的环境中，清晰的沟通至关重要，过多的混响会妨碍理解。具有最佳“混响时间”的教室使学生能够清楚地听到老师的讲解，而不会有回声干扰信息的传达。因此，设计这些空间时需要仔细考虑材料和形状，以有效控制声音反射。为了达到理想的“混响时间”，建筑师和设计师通常使用各种声学处理措施。这些可能包括吸音面板、地毯以及专门设计的天花板，这些措施有助于管理声波与表面的相互作用。例如，具有硬质表面如混凝土或瓷砖的房间通常会有较长的“混响时间”，而一个拥有软装饰的房间则会有较短的“混响时间”。此外，“混响时间”因房间的大小和形状而异。较大的空间通常由于声音波传播的距离较远，具有较长的“混响时间”。相反，较小的房间可能具有较短的“混响时间”，这可能会使其感觉更亲密，但如果设计不当，也可能导致颤动回声等问题。除了建筑考虑外，“混响时间”在电影制作等各种应用中也发挥着作用，声音工程师旨在复制真实的声学环境。理解“混响时间”的工作原理使他们能够创建增强叙事和情感影响的声景。总之，“混响时间”是影响我们在不同环境中听觉体验的基本方面。无论是在宏伟的音乐厅还是简单的教室，达到适当的“混响时间”平衡对于有效的沟通和声音享受至关重要。随着我们继续开发新的声音设计技术和方法，掌握“混响时间”这一概念的重要性只会增加，确保我们能够创造出与其预期目的完美共鸣的空间。