On Tuesday, April 28, 2015 at 7:14:52 PM UTC-4, Frank Stearns wrote:
JackA writes:
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.
This did migrate to a general discussion about reverb (that's why I changed the
subject and noted the change). But, in fact, several of the items discussed would
also apply to mixing a bunch of midi voices (or whatever).
Frank
Mobile Audio
--
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Oh, okay, Frank. Thanks. I didn't see any credits, other than song writing.
Actually, this is why I began to lose interest in music, primarily about the '80's, less musicians, more fabricated sound (cheapen the production). Listen to Pop music today. I had trouble of accepting overdubbing! Luckily, it doesn't seem this quest for fabrication hasn't hit Jazz music. I mean, from what I hear of Jazz on radio stations like WRTI-FM, still real musicians, even real sounding drums. I can appreciate it.
Best,
Jack