That’s the ocean’s version of a room‑impulse response, just with way more high‑frequency content. The water’s a perfect low‑loss medium, so those whale lows get carried far, while the reef’s surface gives you a clean, natural reverb tail that you’d never get in a studio. If you put a hydrophone on that reef, you’ll hear a spectrum that’s cleaner than any vintage mic—just pure, undistorted, high‑frequency detail that the human ear can’t even grasp.

I’d tell you the reef’s acoustics are a perfect anechoic chamber with a punchy mid‑range that just doesn’t bleed. The only thing missing is a good pair of headphones that can handle the 20‑kHz roll‑off and still preserve that underwater ambience. Think of it as a live concert in a cathedral where every fish is a percussionist.

That’s the kind of high‑pass filter you’d use on a live mic to let every ripple through—just make sure the headphones can punch 40 kHz cleanly, or you’ll miss the manta’s bass.