Build a room for any sound: choose its size, how long it rings and how bright it is, hear your sound inside it, and take the result away as a WAV.
The Vessel what goes in
or try
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Nothing in the vessel yet. Choose a sound, record one, drop one here, or try one of the three.
Tap the picture to start from that spot. Short, clear sounds (a clap, a note, a word) show a room off best. Recording uses the microphone only while you hold it open, applies no noise reduction or levelling, and keeps the sound in this page only. Headphones help.
The Room what it is like
The columns are the sixteen echoes that make up the room, and they glow as each one rings. Under them, the lines show how fast the room dies away: gold for the lows, green for the highs.
Space
ClosetCavern
BriefEndless
Right awayFar off
HiddenClose
EchoeySilky
Colour
BrightDark
FullThin
MuffledOpen
CentreWide
Motion
StillSwaying
NoneHeavenly
Shimmer climbs by
Balance
Your soundOnly the room
QuietLoud
The Render take it away
Let the room ring for
Nothing rendered yet. Put a sound in the vessel, shape the room, and press Render. The whole sound goes through the room, followed by its tail, and comes out as a stereo WAV.
Render runs your whole sound through the room, as fast as this device can, and adds the tail so it is not cut off; the file is made here and never uploaded. If Freeze is on, the room is held shut at the end of your sound and the last of it hangs in the air for the length you choose. Save the room makes a short “impulse response” of the room as it is now, which is what convolution reverb plug-ins load; I have not tried it in a particular app, so check that yours accepts a WAV there. Drop either file into Loopy Pro as an audio clip.
How it works
The room is built from sixteen echoes that feed one another: every sound that comes in is sent round sixteen loops of different lengths, and after each trip round the loops are mixed together so that a single clap turns into a dense, smooth wash with no pattern you can hear. The columns in the picture are those sixteen loops.
Size sets how long the loops are: short loops are a booth or a chapel, very long ones are a cavern, where you can hear the first big echoes arrive one by one. Decay is how long the room takes to fall 60 decibels, to near silence; each loop loses just enough on each trip to land on that figure. Damping makes the highs die sooner than the lows, as air and soft walls do; the picture shows both times. Pre-delay is the gap before the room answers, and Walls adds the first reflections from the nearest surfaces. Smoothness is how much the incoming sound is smeared before it enters, and Drift sways the loops slowly so the tail shimmers instead of ringing.
Shimmer pitch-shifts part of what is circulating and feeds it back, so each trip round the room climbs a little higher: an octave, a fifth, and so on, fading into the air. The more shimmer, the faster the original note gives way to its climbing echoes, so a tail with lots of shimmer is shorter than the Decay says. Freeze stops the loops losing anything and closes the door on new sound, so whatever is in the room stays there. High frequencies fade a little over many seconds, and a frozen room with shimmer climbs and dissolves instead of holding forever.
The same reverb runs live while you listen and again, faster than real time, when you press Render, so the file sounds like what you heard. Nothing is sent anywhere.