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Native Raum Manual

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11. INTERVIEW ABOUT RAUM
Learn more about RAUM, its development, and reverb effects in general in this interview with Prin-
cipal Software Engineer Dr. Julian Parker.
What was your role in the RAUM project?
I did development in terms of the reverb algorithm itself, and also in terms of tuning it, giving it an
aesthetic perspective.
Can you elaborate on what the reverb algorithm is and how it relates to the final product?
The Grounded and Airy algorithms in RAUM are based on the idea of the feedback delay network,
which consists of a lot of delay lines. They are all connected together by what is essentially a big
mixer. In technical terms you would call it a matrix, a big grid of numbers that is describing the con-
nection between all the delay lines.
The smoothness of a reverb is defined by how many resonances you can generate. A metallic
sounding reverb does not have many resonances, just like a boxy room does not have many reso-
nances. Whereas, a room that has a more irregular geometry sounds much more smooth. I no-
ticed that the way people were using these feedback matrices was not optimal, because you would
end up with resonances placed on top of each other at the same frequency. They just make that
part louder instead of adding more density to the reverb. The Dense mode in Airy and Grounded
was designed to give the most density possible. That was the initial spark for the project in techni-
cal terms.
The other thing I wanted to do when I initially designed the algorithms was to try and make the
early reflections integral to the reverb network itself. The traditional way of dealing with early re-
flections was to have two things in parallel. You had the bit that generated your late reverb, which
is diffuse. And then you had a completely separate, parallel structure that would do the early re-
flections, which is very flexible because you can design them specifically, separately. But then you
have this really subjective task of balancing the early reflections and making them flow into the tail
in a believable way. And that is quite difficult.
So in this case some of the challenging complexity of reverb is solved by a new take on
how early reflections are generated.
Yeah, exactly. Instead of having a separate, parallel structure for the early reflections, you actually
take the early reflections from inside the main reverb, in a very specific way. So you know, my first
echo is going to come from this delay line, which has this length, and my second echo is going to
come from that other delay line, which has that length. But they are present in the overall reverb
anyway. This means that any time that is present in the reflections is also there in the build up of
the late, diffuse tail. Which is of course what would happen in reality, because you have got sound
bouncing around and build up until it turns into a wash. So, this is an attempt to unify those two
things.
As far as I know, the basic technique of the feedback delay network goes back at least two
decades or maybe three. Did any of the existing devices play a role in the development of
RAUM?
Interview about RAUM
21 RAUM Manual
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