INPUT / OUTPUT TRANSDUCER IMPEDANCE

INPUT OUTPUT
  DECAY TIME / RT60

If an impulse source of sound is introduced into a room, a typical time response such as shown in FIGURE #1 (below) will result. This
time response shows the reverberation effect. The response can be described by thinking of the reverberation as being composed of
two parts. The first part, called early reflections, are the sounds that come from possibly only one reflection off a boundary surface.
These reflections shape the listeners conception of the room size. The number, or density, of reflections increases rapidly with time
when the second or clutter phase is entered. The individual echoes of the first phase merge into an almost continuous sound field. This
part of the reverberation effect display the color and liveliness of the room, surrounding the listener with a diffuse sound field.

The characteristics of the room's reverberation are described in terms of two parameters. The length of time required for a decrease
in level by a certain amount is called the DECAY TIME. The decay time is usually defined as the time it takes a sound to decrease by
60 db. Decay time is determined by the acoustical properties of the reflective surfaces. The time required for the arrival of the first
reflections is called the delay time. The delay is related to the volume of the room.

Electro-mechanical reverberation devices provide the necessary properties of delay and decay time to simulate natural ambience.
Changing the delay time will change the apparent size of the listening area. Lengthening the decay time adds additional liveliness
required by some musical instruments. When the reverberation system is matched carefully to the musical instruments or sound
system, creating the proper room characteristics, the effects are enriching.

Spring reverberation devices are used successfully in a number of musical instruments and accessories providing an added dimension
to the sound. Organs, guitar amplifiers and mixers make extensive use of reverb devices. They are being applied to public address
systems to control room acoustics. There are numerous applications for reverbs in audio systems, since they provide a low cost
solution to the problem of room acoustics, sound creation and enhancement.

Accutronics' electromechanical reverberation devices consist of input and output transducers and a set of transmission springs. These
components are mounted on an aluminum channel, which is usually supported by four springs to an outer case or channel. Briefly,
the device operates as follows: an electrical signal applied to the input transducer is translated by the magnetic circuit to a torsional
force on two small cylindrical magnets. The magnets are mechanically coupled to a pair of transmission springs and the torsional
motion is propagated slowly along the spring path. At the output, a replica of the original input signal is produced by the action of the
magnets again coupled to the transmission springs. The signal has now been delayed by some period, determined by the diameter,
wire gauge and length of the transmission springs. Additionally, most of the torsional energy is reflected back to the input transducer,
which in turn reflects it again to the output transducer. The result is a multitude of reflections each smaller in amplitude than the last.
The delay time of each additional reflection is 2T since the torsional motion must travel the spring path twice to reach the output
transducer.

FIGURE #2 (below) shows how a single spring reverb would ideally respond to an input pulse. FIGURE #3 (below) shows the
frequency response of this single spring device. Combining the outputs of two such units, each with a different delay time, improves
the reverb characteristics. The use of two lines with different delay times also more closely simulates the ideal room or concert hall.
As the walls of a concert hall are not the same distance from the listener, the delay will vary from different reflecting surfaces. The
two different delay times provide this variation. Combining the outputs improves the frequency response also, with one response also,
with one response - with proper delay time selection - filling voids or holes in the other. The audible annoyances associated with the
single spring line such as flutter, coloration and the metallic spring sound are greatly reduced using multiple paths.

FIGURE #2 .............................................. FIGURE #3

The approach of using a multiple number of delay paths is used in all Accutronics' reverberation products. Types 1 & 4 use two
paths; types 8 & 9 use three spring delay paths. Delay times have been selected to give the most pleasing over-all effect within the size
constraints of a particular type.

The proper decay time must be selected by application, and is therefore factory adjustable. For example, in vocal applications
reverberation with a short decay time will enhance the voice; however, lengthening the decay time beyond a certain point will make
speech unintelligible. The specification sheet for each type describes the options available. As a guide to selection we have found that
most customers with organ products prefer about 2 seconds decay; guitar amplifier manufacturers prefer 3 seconds or longer; for
vocal applications, most prefer the shortest decay possible.

To allow the most design flexibility, Accutronics supplies a variety of input and output impedances (impedance measured @ 1kHz).
Selection of a particular impedance is dependant on drive circuit type employed, supply voltage and current capabilities. These
criteria will be described in more detail in the next section. A list of popular transducer impedance is given in INPUT / OUTPUT
   DRIVE CIRCUIT / OVERLOAD MARGIN CHART

In order to create a constant torsional force on the magnets, the flux in the air gap must remain constant. Since the flux in
the gap is directly related in the number of amper-turns generated in the coil, the current thru the coil must remain
constant to get a constant output voltage from the unit. The input transducer can be characterized as essentially inductive,
with impedance rising with increasing frequency. In practice this means driving the transducer from a current source or
from a voltage source equalized to give an output rising 6db/oct with increasing frequency. These types of circuits will
maintain a constant value of amper-turns with frequency. With this in mind, consider the following points about the drive
circuit

1. The first and foremost point to remember is to drive the unit as hard as practical. The core saturation level is
approximately 2.5 A-T (amps measured RMS). The driver, at maximum expected input level, should drive the coil to near
saturation. This is of utmost importance in applications where a speaker is mounted in the same enclosure as the reverb,
such as a guitar amp or organ. This will allow the output or recovery amplifier gain to be reduced, lowering possibilities of
feedback and minimizing microphonics. With today's solid-state circuitry and low supply voltages, low impedance coils
(8ohm or 16ohm) should be used in high drive level applications. Popular operational amplifiers are limited in output
capabilities and cannot drive the input transducer up to core saturation. For these high drive level applications, external
transistors to boost operational amplifier current capabilities or monolithic power amps should be used.

For applications where the unit will not be subjected to mechanical vibrations, the eight circuit designs included will work
quite well. Units should still be driven as hard as practical to provide the highest output voltage and therefore better noise
performance from the recovery amplifier.

2. Although the reverb should be driven hard, driver overload or core saturation must be avoided. Distortions of any type
will cause the reverberation to sound "muddy". Due to the varying nature of the reverb input as an amplifier load, the
drive circuit can go quickly into overload, especially with high frequencies.

Consider the driver circuit titled "LOW COST INPUT DRIVE". Assume the use of an Accutronics' 150ohm coil specified
at 6.5mA nominal drive and a desired response up to 5KHz. The voltage across the coil at 1KHz and 6.5mA would be
150ohm x 6.5mA = 1V (2.8Vp-p). Because the impedance of the coil increases directly with frequency, we can simply scale
the voltage requirements for higher operating frequencies. Hence, (5KHz/1KHz) x 1 volt = 5V(14Vp-p). The Chart below
illustrates the margin between the nominal 3.5 A-T level and driver overload for various coils using the circuit shown in
"LOW COST INPUT DRIVE" the 150ohm - 250ohm coils provide the optimum performance with the single operational
amplifier driver.

3. DC currents thru the coils should be avoided. Substantial DC currents will reduce the AC signal current swing possible
before core saturation takes place.

THE RECOVERY CIRCUIT

 

The recover circuitry is straightforward. It is simply a preamplifier with flat frequency response over the range of interest.
The transducer output voltages will be in the range of 1 to 5 millivolts when the unit is driven at the nominal current level.
The following are points to consider when designing recovery amplifiers.

1. Since the output transducers is also essentially inductive, output impedance increases with frequency. Amplifier input
impedance should be high enough to prevent premature roll off in the frequency range of interest (i.e., the 10,000 ohm coil
appears as 60,000 ohm source at 6kHz).

2. As with all low level audio circuits, care should be exercised with the circuit design and grounding techniques.
Accutronics offers all combinations of input and output insulated and non-insulated phono jack connectors, for any
grounding scheme. The best system, and the most applicable, is to insulate both the input and output from the chassis,
grounding the chassis separately.
  MOUNTING CONSIDERATIONS / MOUNTING DIAGRAMS

When designing a new product that is to use reverberation, consideration should be given to where and how to mount the reverb.
The reverb should not be thought of as an "add on" and simply mounted where there is space.

Two types of mounting are used on Accutronics' reverberation units. Larger units have mounting holes provided on the outer
channel, while some companies use inner channels mounted with low-density foam tape. Some general mounting considerations,
designed to minimize acoustical feedback and susceptibility to shock are given below:

1. Accutronics units are designed to be mounted as shown in figures shown below. In this position the weight of the springs displaces
the magnets along the air gap, not toward the lamination. The closer the magnet is to the lamination, the less of a shock can be given
to the unit before the magnet will bottom on the laminations.

If the unit is going to be mounted in some other position, then when specifying your unit you should state the position. If the reverb
is to be used in several different products, it will be to your advantage to specify a different model number for each different
mounting position. We adjust the magnets at the factory so that they will be centered in the gap when installed.

BEST MOUNTING METHOD

NEXT BEST MOUNTING METHOD

LEAST DESIRABLE MOUNTING METHOD

2. Even though the output transducer is shielded, the output end in particular should be kept away from transformer fields. The
effectiveness of the shield varies with its orientation in an external magnetic field. The figures below show the orientations with
respect to an external field for minimum and maximum pickup.
Orientation of external magnetic field that will induce maximum voltage in the output coil

Orientation of transducer in external magnetic field for minimum pickup

3. Hard mounting, such as bolting the outer channel directly to a case or cabinet wall should be avoided. Reverbs provided with
mounting holes should be attached with grommets or rubber stand-offs to further increase mechanical isolation.

4. Placement on cabinet members that would tend to act as "sounding boards" should be avoided. A small-dimensioned rigidly
supported surface is usually best.

5. Allow for slack in cables attached to the reverb to prevent forming mechanical feedback paths.

A frequently asked question about reverberation is what equalization, if any, should be used. Equalizing reverberation is a matter of
application and mainly subjective taste. The DRIVER CIRCUITS on this site will give a good starting point since they provide an
essentially flat response at the reverb output between 100 Hz and 5KHz. One type of equalization that should be considered in all
applications is to add a low cut filter to the recovery amplifier. A filter with a 50 Hz to 100 Hz cutoff will lessen the effects of rumble
when the unit is mechanically shocked.