{"id":20243,"date":"2026-09-29T10:30:00","date_gmt":"2026-09-29T08:30:00","guid":{"rendered":"https:\/\/www.lukaswojcik.com\/blog\/?p=20243"},"modified":"2026-09-25T09:45:51","modified_gmt":"2026-09-25T07:45:51","slug":"reverb-measured-decay-time-pre-delay-reverb-level-high-pass-clarity","status":"publish","type":"post","link":"https:\/\/www.lukaswojcik.com\/blog\/en\/music-production\/reverb-measured-decay-time-pre-delay-reverb-level-high-pass-clarity\/","title":{"rendered":"Reverb Measured: How Decay Time, Pre-Delay, Reverb Level and a Send High-Pass Change Clarity"},"content":{"rendered":"<p>Reverb gives a mix space but costs definition: syllables blur, attacks lose their outline, and a remainder stays in the low end that competes with kick and bass for the same room. How much each of the usual controls \u2013 decay time, pre-delay, reverb level, damping and a high-pass in the send \u2013 contributes can be measured. For this article, impulse responses with an exactly known decay time were created, convolved with ffmpeg and evaluated with two measures that stand for definition in room acoustics: the clarity index C50 and C80 according to ISO 3382-1 and the modulation depth, the basic idea behind the speech transmission index STI.<\/p>\n<p>The measurements were taken on 23 September 2026 with ffmpeg 7.1.5 and numpy. The impulse responses are synthetic and therefore a model of a reverb, not a specific plugin; what that means for transferring the results is covered in the section on limits.<\/p>\n<figure class=\"lw-diagram\">\n<img src=\"https:\/\/www.lukaswojcik.com\/blog\/wp-content\/uploads\/diagrams\/hall-nachhall-en.png\" width=\"1120\" height=\"580\" decoding=\"async\" loading=\"lazy\"\n     alt=\"Two curve panels: on the left the clarity indices C50 and C80 over decay times from 0.3 to 4.8 seconds, on the right the modulation depth at 4 and 8 Hz over reverb levels from \u221220 to 0 dB, measured and calculated, below four key figures on pre-delay, high-pass in the send, reverb level and damping\"><figcaption>Clarity and modulation depth depending on decay time and reverb level, plus the effect of pre-delay, high-pass and damping, measured on 23 September 2026.<\/figcaption><\/figure>\n<h2>How it was measured<\/h2>\n<p>Each impulse response consists of the direct sound with a value of 1 and a reverb tail made of noise whose energy decays exponentially. The decay time T is the time in which this energy falls by 60 dB. The reverb level states how much energy the whole tail has relative to the direct sound; \u221210 dB therefore means one tenth. Optionally a pre-delay is added, a gap between direct sound and reverb, or damping, in which the octaves above 1 kHz decay faster: at 2 kHz with 85 percent, at 4 kHz with 70 and above that with 55 percent of the decay time.<\/p>\n<p>ffmpeg convolved with the afir filter, explicitly without its automatic normalisation. A preliminary test with a single impulse returned the impulse response accurate to \u2212134 dB and without any time offset. The evaluation covered:<\/p>\n<ul>\n<li><strong>T30:<\/strong> the decay time from Schroeder backward integration, determined between \u22125 and \u221235 dB and extrapolated to 60 dB.<\/li>\n<li><strong>C50 and C80:<\/strong> the ratio of the energy in the first 50 or 80 ms to the energy after that. C50 is considered the measure for speech, C80 for music; higher means clearer.<\/li>\n<li><strong>Modulation depth m:<\/strong> a noise in the speech range from 200 Hz to 4 kHz fluctuates in strength at 0.5 to 16 Hz, just as syllables and notes make the level fluctuate. After the reverb, the measurement shows how much of this fluctuation remains: 1 means all of it, 0 means flattened.<\/li>\n<\/ul>\n<p>For exponential reverb, m can also be calculated: the decay curve acts on the fluctuation like a low-pass with the corner 13.8 \/ (2\u03c0\u00b7T), and the direct sound is added at full strength. Across all 96 measuring points, measurement and calculation differed by 0.006 on average and by 0.020 at most. That confirms the setup and allows the results to be transferred to other settings.<\/p>\n<h2>Decay time: longer costs, but with a limit<\/h2>\n<p>At a reverb level of \u221210 dB the measurement hit the specified decay time within 0.01 s: 0.30, 0.60, 1.20, 2.40 and 4.81 s. With increasing length, clarity drops noticeably, but not without a floor:<\/p>\n<table>\n<tr>\n<th>Decay time<\/th>\n<th>C50<\/th>\n<th>C80<\/th>\n<th>m at 4 Hz<\/th>\n<th>m at 0.5 Hz<\/th>\n<\/tr>\n<tr>\n<td>0.3 s<\/td>\n<td>20.13 dB<\/td>\n<td>26.09 dB<\/td>\n<td>0.97<\/td>\n<td>0.99<\/td>\n<\/tr>\n<tr>\n<td>0.6 s<\/td>\n<td>15.14 dB<\/td>\n<td>18.14 dB<\/td>\n<td>0.94<\/td>\n<td>0.99<\/td>\n<\/tr>\n<tr>\n<td>1.2 s<\/td>\n<td>12.60 dB<\/td>\n<td>14.14 dB<\/td>\n<td>0.92<\/td>\n<td>0.99<\/td>\n<\/tr>\n<tr>\n<td>2.4 s<\/td>\n<td>11.31 dB<\/td>\n<td>12.10 dB<\/td>\n<td>0.91<\/td>\n<td>0.98<\/td>\n<\/tr>\n<tr>\n<td>4.8 s<\/td>\n<td>10.66 dB<\/td>\n<td>11.06 dB<\/td>\n<td>0.90<\/td>\n<td>0.95<\/td>\n<\/tr>\n<\/table>\n<p>The floor follows from the reverb level. If the whole tail sits 10 dB below the direct sound, C50 can never fall below 10 dB, however long the reverb is, and the modulation depth approaches 1 \/ 1.1 = 0.91. A long tail only spreads the same energy over more time. It therefore mainly affects slow fluctuations, that is long notes and phrases: m at 0.5 Hz drops from 0.99 to 0.95, while at 4 Hz hardly anything changes between 2.4 and 4.8 s.<\/p>\n<h2>Reverb level: the real control<\/h2>\n<p>At a fixed decay time of 1.2 s, the level of the reverb decides. From \u221220 to 0 dB, C50 falls from 22.45 to 3.93 dB and the modulation depth at 4 Hz from 0.98 to 0.61. At 8 Hz, meaning fast syllables or sixteenth notes at 120 BPM, only 0.52 remains.<\/p>\n<table>\n<tr>\n<th>Reverb level<\/th>\n<th>C50<\/th>\n<th>C80<\/th>\n<th>m at 4 Hz<\/th>\n<th>m at 8 Hz<\/th>\n<\/tr>\n<tr>\n<td>\u221220 dB<\/td>\n<td>22.45 dB<\/td>\n<td>23.93 dB<\/td>\n<td>0.98<\/td>\n<td>0.99<\/td>\n<\/tr>\n<tr>\n<td>\u221215 dB<\/td>\n<td>17.49 dB<\/td>\n<td>18.98 dB<\/td>\n<td>0.97<\/td>\n<td>0.97<\/td>\n<\/tr>\n<tr>\n<td>\u221210 dB<\/td>\n<td>12.60 dB<\/td>\n<td>14.14 dB<\/td>\n<td>0.92<\/td>\n<td>0.91<\/td>\n<\/tr>\n<tr>\n<td>\u22125 dB<\/td>\n<td>7.95 dB<\/td>\n<td>9.61 dB<\/td>\n<td>0.80<\/td>\n<td>0.76<\/td>\n<\/tr>\n<tr>\n<td>0 dB<\/td>\n<td>3.93 dB<\/td>\n<td>5.87 dB<\/td>\n<td>0.61<\/td>\n<td>0.52<\/td>\n<\/tr>\n<\/table>\n<p>In practice this means: if a vocal sounds washed out in the reverb, the send level is the more effective lever than the length. A long, quiet reverb can give more space than a short, loud one and still stay clearer.<\/p>\n<h2>Pre-delay: separates, but does not make things clearer<\/h2>\n<p>A pre-delay moves the reverb back by a few milliseconds. A common expectation is that the attack stays free and the vocal becomes clearer. By both measures the opposite happens, if only to a small extent:<\/p>\n<table>\n<tr>\n<th>Pre-delay<\/th>\n<th>C50<\/th>\n<th>C80<\/th>\n<th>m at 2 Hz<\/th>\n<th>m at 4 Hz<\/th>\n<\/tr>\n<tr>\n<td>0 ms<\/td>\n<td>12.60 dB<\/td>\n<td>14.14 dB<\/td>\n<td>0.96<\/td>\n<td>0.92<\/td>\n<\/tr>\n<tr>\n<td>10 ms<\/td>\n<td>12.04 dB<\/td>\n<td>13.66 dB<\/td>\n<td>0.95<\/td>\n<td>0.91<\/td>\n<\/tr>\n<tr>\n<td>20 ms<\/td>\n<td>11.51 dB<\/td>\n<td>13.17 dB<\/td>\n<td>0.95<\/td>\n<td>0.90<\/td>\n<\/tr>\n<tr>\n<td>40 ms<\/td>\n<td>10.50 dB<\/td>\n<td>12.04 dB<\/td>\n<td>0.93<\/td>\n<td>0.88<\/td>\n<\/tr>\n<tr>\n<td>80 ms<\/td>\n<td>10.00 dB<\/td>\n<td>10.00 dB<\/td>\n<td>0.89<\/td>\n<td>0.86<\/td>\n<\/tr>\n<tr>\n<td>120 ms<\/td>\n<td>10.00 dB<\/td>\n<td>10.00 dB<\/td>\n<td>0.87<\/td>\n<td>0.88<\/td>\n<\/tr>\n<\/table>\n<p>The reason lies in the definition: reverb energy within the first 50 ms counts as useful for C50 because hearing fuses it with the direct sound. A pre-delay of 80 ms pushes the entire reverb out of this window, and C50 drops to its floor of 10 dB. The modulation depth also falls, because the delayed reverb lands more in the gaps between syllables. The calculated value including the delay matches this within 0.015.<\/p>\n<p>What a pre-delay actually delivers is separation: in the first 20 or 40 ms after each onset only the dry signal sounds. That can set the attack audibly apart from the room, but it is not a measurable gain in definition. When the pre-delay is tied to the tempo, the <a href=\"https:\/\/www.lukaswojcik.com\/blog\/en\/toolbox\/bpm-delay-time-calculator\/\">BPM to delay time calculator<\/a> converts note values into milliseconds and suggests pre-delay and decay time that fit the bar.<\/p>\n<h2>Damping: the highs decay faster<\/h2>\n<p>For a damped reverb with 2.4 s, backward integration per octave measured 2.32 s at 125 Hz, 2.39 at 1 kHz, 2.02 at 2 kHz, 1.72 at 4 kHz and 1.38 at 8 kHz. Without damping, all octaves lay between 2.32 and 2.43 s. Across the full bandwidth the decay time therefore drops from 2.40 to 1.87 s, and C50 rises from 11.31 to 12.12 dB. A damped reverb sounds darker and seems shorter, even when the set decay time stays the same.<\/p>\n<h2>Low end in the reverb: the high-pass in the send<\/h2>\n<p>For the last part, a loop of kick, bass and hi-hat at 128 BPM ran via a send into a damped reverb with 1.8 s, 20 ms pre-delay and a level of \u221210 dB. In front of the reverb sat a high-pass with 12 dB per octave and a changing corner frequency. The measurement covered the reverb below 120 Hz and between 300 Hz and 3 kHz, each against the dry signal in the same band, and the low end that remains in the 500 ms after the loop ends.<\/p>\n<table>\n<tr>\n<th>High-pass in the send<\/th>\n<th>Reverb below 120 Hz<\/th>\n<th>Reverb 300 Hz\u20133 kHz<\/th>\n<th>Low end after the loop<\/th>\n<\/tr>\n<tr>\n<td>none<\/td>\n<td>\u221210.11 dB<\/td>\n<td>\u22128.48 dB<\/td>\n<td>\u221223.3 dB<\/td>\n<\/tr>\n<tr>\n<td>100 Hz<\/td>\n<td>\u221217.95 dB<\/td>\n<td>\u22128.50 dB<\/td>\n<td>\u221229.0 dB<\/td>\n<\/tr>\n<tr>\n<td>200 Hz<\/td>\n<td>\u221228.13 dB<\/td>\n<td>\u22128.68 dB<\/td>\n<td>\u221235.6 dB<\/td>\n<\/tr>\n<tr>\n<td>400 Hz<\/td>\n<td>\u221239.97 dB<\/td>\n<td>\u221210.37 dB<\/td>\n<td>\u221239.1 dB<\/td>\n<\/tr>\n<\/table>\n<p>What stands out is what does not change: the level below 120 Hz in the mix is not measurably raised by the reverb in any case; the sum deviates from the dry loop by at most 0.33 dB. Reverb in the low end is therefore not a loudness problem but a timing problem. It drags kick and bass behind them, and this remainder sits between the hits. A high-pass at 200 Hz lowers it by 12.3 dB without changing the reverb in the mids to any notable degree. Only at 400 Hz do the mids lose 1.9 dB as well.<\/p>\n<h2>What this means for the mix<\/h2>\n<table>\n<tr>\n<th>Goal<\/th>\n<th>Control<\/th>\n<th>Measured value<\/th>\n<\/tr>\n<tr>\n<td>Clearer vocal in the reverb<\/td>\n<td>lower reverb level<\/td>\n<td>\u22125 instead of 0 dB: m at 4 Hz 0.80 instead of 0.61<\/td>\n<\/tr>\n<tr>\n<td>Lots of space, little loss<\/td>\n<td>long but quiet reverb<\/td>\n<td>4.8 s at \u221210 dB: C50 still 10.66 dB<\/td>\n<\/tr>\n<tr>\n<td>Separate the attack from the room<\/td>\n<td>pre-delay 20\u201340 ms<\/td>\n<td>C50 drops by 1.1 to 2.1 dB<\/td>\n<\/tr>\n<tr>\n<td>Keep the low end clean<\/td>\n<td>high-pass 100\u2013200 Hz in the send<\/td>\n<td>remainder after the loop \u221229.0 to \u221235.6 instead of \u221223.3 dB<\/td>\n<\/tr>\n<tr>\n<td>Make the reverb darker and seem shorter<\/td>\n<td>damping of the highs<\/td>\n<td>8 kHz in 1.38 instead of 2.41 s<\/td>\n<\/tr>\n<\/table>\n<h2>Context and limits<\/h2>\n<p>The reverb tails are ideally exponential and without the early reflections that a room or an algorithmic reverb with early reflections produces. Early reflections lie within the first 50 ms and would raise C50. Real reverb units also have modulation, diffusion and stereo width, which do not appear here. The direction of the results still applies in general, because it follows from how energy is distributed over time: the level decides the floor, the length decides how quickly it is reached. C50, C80 and modulation depth are room-acoustic measures for speech and music in a room; applied to reverb in a mix, they describe how much outline remains, not whether the reverb sounds good.<\/p>\n<div class=\"lw-faq\">\n<h2>Questions and answers<\/h2>\n<h3>Why does a shorter reverb only help against smeared fast syllables once it becomes very short?<\/h3>\n<p>This follows from the formula in the article. The decay curve acts on the level fluctuations like a low-pass with the corner 13.8 \/ (2\u03c0\u00b7T). At 1.2 s the corner lies at about 1.8 Hz, at 0.3 s at about 7.3 Hz. For fluctuations far above it, such as fast syllables and sixteenth notes, the reverb is merely an even background, and their modulation depth falls to the value set by the reverb level alone: 1 \/ (1 + r), where r is the energy ratio of reverb to direct sound.<\/p>\n<p>The reverb level table shows this floor almost unchanged. At 1.2 s and 8 Hz it comes to 0.91 for \u221210 dB, 0.76 for \u22125 dB and 0.50 for 0 dB; the measured values were 0.91, 0.76 and 0.52. The decay time table shows the same at 4 Hz: between 1.2 and 4.8 s, m only drops from 0.92 to 0.90.<\/p>\n<p>Length only starts to matter once the corner moves close to the syllable rate. Calculated from the formula rather than measured: at a reverb level of 0 dB, m at 8 Hz rises from about 0.54 at 1.2 s to about 0.77 at 0.3 s. At 1.2 s, a reverb that is 5 dB quieter reaches roughly the same value, 0.76 measured, and the reverb stays long.<\/p>\n<h3>Does lowering the send level by 5 dB lower the reverb level by exactly 5 dB?<\/h3>\n<p>Yes, as long as the reverb works linearly, that is without a compressor, ducking or saturation in the reverb path: the send level scales the entire tail, and its distance from the direct sound changes by exactly that amount. The send control does not show the absolute reverb level, however, because the input and output levels of the reverb plugin and its mix control count as well. What carries over from the tables is therefore the change, not the value on the scale.<\/p>\n<\/div>\n<div class=\"lw-quellen\">\n<h2>Sources<\/h2>\n<ul>\n<li><a href=\"https:\/\/ffmpeg.org\/ffmpeg-filters.html#afir\" target=\"_blank\" rel=\"noopener noreferrer\">FFmpeg Filters Documentation \u2013 afir<\/a><\/li>\n<li><a href=\"https:\/\/www.iso.org\/standard\/40979.html\" target=\"_blank\" rel=\"noopener noreferrer\">ISO 3382-1:2009 \u2013 Measurement of room acoustic parameters \u2013 Part 1: Performance spaces<\/a><\/li>\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Reverberation\" target=\"_blank\" rel=\"noopener noreferrer\">Reverberation<\/a><\/li>\n<li><a href=\"https:\/\/en.wikipedia.org\/wiki\/Speech_transmission_index\" target=\"_blank\" rel=\"noopener noreferrer\">Speech transmission index<\/a><\/li>\n<\/ul>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Impulse responses with decay times from 0.3 to 4.8 s were convolved with ffmpeg and evaluated with C50, C80 and modulation depth. The reverb level decides more than the length, a pre-delay of 80 ms lowers C50 from 12.60 to 10.00 dB instead of raising it, and a 200 Hz high-pass in the send cuts the low end left after the loop from \u221223.3 to \u221235.6 dB.<\/p>\n","protected":false},"author":1,"featured_media":20447,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[92861],"tags":[92901],"class_list":["post-20243","post","type-post","status-publish","format-standard","hentry","category-music-production","tag-music-production"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Reverb Measured: How Decay Time, Pre-Delay, Reverb Level and a Send High-Pass Change Clarity | Lukas Wojcik<\/title>\n<meta name=\"description\" content=\"Reverb measured with C50, C80 and modulation depth: why the level matters more than the length, what pre-delay does 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