[John Williamson]

On 20/03/2019 22:13, Matt Faunce wrote:
Matt Faunce wrote:

I think your question is if there's a different optimal-amount of reverb
for the pure sonority of each instrument while in the mix, which is good
for the overall sonority of the recording, and if there is, then if there's
an acceptable range of give and take between this pure sonority and
sense-of-space.


Let me rephrase that.

I think the assumption of engineers who use different reverb levels is that
there's a different optimal-amount of reverb for the pure sonority of each
instrument while in the mix, which is good for the overall sonority of the
recording.

This doesn't just apply to recording. Many instrument players have their
own reverb built into the amp or their instrument, which they apply to
their playing as they see fit, so the rhythm and lead guitars may have
different settings, as will the bass and keyboard players. The vocalists
will also often ask the mixing engineer to add echo, chorus and other
effects to their feed. Often, the only player without any added reverb
at a live gig is the drummer.

From the audience's point of view, all these individual effects add to
the room sound, to give the sound of the live performance, which is
where the live sound engineer's skill comes in, as the empty venue
sounds totally different to the same room when it's full of people.

My question is, if that's true, is there's an acceptable range of give and
take between this pure sonority and sense-of-space, and if so, is there a
rule that regulates it?

It has to sound good is the rule. Do whatever it takes to get a sound
that the producer, the engineer and the band are all happy with. The
recording engineer's job is to make the band sound as good on the record
as they think they do when they play live.

--
Tciao for Now!

John.