[JackA]

On Tuesday, April 28, 2015 at 4:23:34 PM UTC-4, Frank Stearns wrote:
(Don Pearce) writes:

snips

I get what you are saying, particularly about the choir in too dry a
space. I'm afraid I can usually hear when that kind of fix has been
applied - not so much from the sound, provided a good impulse has been
used with convolution reverb - but the choir itself. Singers respond
to the acoustics, and choirs sing very differently in a huge
reverberant space than they do in a dry room. You can always hear the
technique change - there is a sense of waiting in the larger space.

This is an excellent point, and one certainly verified from my own experience with
musicians playing in a space where they can hear themselves (good room reverb is a
large part of that), and where they cannot.

I'm able to get a faux room tone that's hard to tell from a good room, but it's
practically impossible to do much about intonation and timing issues brought on by a
space that's unfriendly to musicians.

Correct me if I'm in error, but I didn't "hear" any musicians. Thought it was mainly computer generated music, no real musicians required.

Jack


What I'm really thinking of though is just the general "it needs some
reverb" attitude that usually ends up plastering too much over the
sound. It loses clarity and gets muddied. That is what you usually
pick up on the next day, and fix by dialling it all back a few
notches.

Sure, and this is the very moment the mix engineer ought to pause and ask
of the reverb not only "how much" but of what shape? Tonality?

Too many simply open a reverb plug in, accept the defaults (in digital-land
typically the worst-sounding reverb the thing will produce), and call it good.
Yes, indeed, turn THAT down! Otherwise, give it some care before applying.

Frank
Mobile Audio

--
.