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5 ms · 100 Hz · 2.2 sA studio evaluation is worth sixteen marks, and half of it can be the room the mic is standing in.
Level
Play plays the stem round its loop, with room after it for the tail. Hold: direct mutes the reflection and the tail while you hold it, so you can hear what the room was adding. The space bar plays and stops.
Station
What happens between a sound and an ear: how loud a tone seems, one sound hiding another, and what a room does on the way. Each one redraws the stage and changes the controls beside it.
Source
A hit and a phrase. The snare shows a bounce you can hear arrive; the vocal shows the colouration a comb puts on a sustained sound.
Reflection100 Hz
One copy of the sound, arriving late off a nearby surface. The first notch sits at 1/(2T), so a shorter delay pushes every notch up the spectrum. Past 25 ms the ear hears a bounce instead.
Tail2.2 s
RT60 is the time for the reflected sound to fall 60 dB after the source stops. Room is the balance against the direct sound, which in a real session is set by moving the microphone.
WallsBare
Absorption removes energy and shortens the tail; thin panels reach the mid and high only, and bass traps reach the low end. Soundproofing stops sound leaving the room, so it changes nothing you can hear in here.
What you should hear
100 Hzfirst notch
19 dBpeak to notch
2.31 sbelow 250 Hz
2.02 sabove 2 kHz
every number here comes from the controls
Every number here comes from the controls beside it, and the same numbers make the picture on the stage and the sound in the graph.