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#1
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Church as echo chamber
I'm wondering if anyone on this group can speak from experience about
using a very large space such as a church as an echo chamber. I'm about to begin producing a record which is for an ensemble of two violins, bass clarinet, and electric guitar. We will be tracking in my studio which is a fairly well designed (good isolation, no parallel surfaces, reasonably well treated) room, but is only about 17'x20'x12'. After we're tracked and edited, I was thinking it might be fun to experiment with using a church (there are dozens in the neighborhood) to create some "reverb" tracks. I know that this will basically be a trial and error type of situation, but since I'll probably have a limited amount of time in the space, I thought I'd ask if anyone has suggestions or tips about what not to do. Specifically, were echo chambers typically used over an entire mix, isolated instruments/instrument groups, or all of the above? Would a pair of nearfields and a pair of spaced omnis be an appropriate way to handle playback and capture of the room? Thanks! Steve |
#2
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Church as echo chamber
wrote ...
I'm wondering if anyone on this group can speak from experience about using a very large space such as a church as an echo chamber. I'm about to begin producing a record which is for an ensemble of two violins, bass clarinet, and electric guitar. We will be tracking in my studio which is a fairly well designed (good isolation, no parallel surfaces, reasonably well treated) room, but is only about 17'x20'x12'. After we're tracked and edited, I was thinking it might be fun to experiment with using a church (there are dozens in the neighborhood) to create some "reverb" tracks. I know that this will basically be a trial and error type of situation, but since I'll probably have a limited amount of time in the space, I thought I'd ask if anyone has suggestions or tips about what not to do. Specifically, were echo chambers typically used over an entire mix, isolated instruments/instrument groups, or all of the above? Would a pair of nearfields and a pair of spaced omnis be an appropriate way to handle playback and capture of the room? I would try putting a good-quality speaker "on stage" where the ensemble would have been, but aimed "upstage" (to maximize ambient and minimize "direct"). Then I would experiment with spaced omnis at various distances away from the "virtual performers". Normally I would "tune" the mic location for the desired direct vs. reflected sound. But here you are presumabally going for 100% "ambient" to layer back into the original mixdown. OTOH, since you don't have to deal with either arranging real musicians on a stage, or sight-lines for an audience, don't be afraid to try more unconventional locations for the speaker and/or the microphones. If it were a "classical" ensemble (like a string quartet, et.al.), I would "reverb" the entire mix. But here I might try a mix minus the e-guitar. But it would depend a great deal on the nature of the music (undisclosed) and the nature of the hall ambience (TBD). I would keep in mind that my location recording junket was only intended to generate a second- order effect (reverb) to be combined with the primary, main mix. Assuming you are recording to an additional pair(s) of locked tracks to maintain sync with the original mix. |
#3
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Church as echo chamber
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#4
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Church as echo chamber
On Dec 1, 10:32*pm, "
wrote: I'm wondering if anyone on this group can speak from experience about using a very large space such as a church as an echo chamber. *I'm about to begin producing a record which is for an ensemble of two violins, bass clarinet, and electric guitar. *We will be tracking in my studio which is a fairly well designed (good isolation, no parallel surfaces, reasonably well treated) room, but is only about 17'x20'x12'. *After we're tracked and edited, I was thinking it might be fun to experiment with using a church (there are dozens in the neighborhood) to create some "reverb" tracks. *I know that this will basically be a trial and error type of situation, but since I'll probably have a limited amount of time in the space, I thought I'd ask if anyone has suggestions or tips about what not to do. Specifically, were echo chambers typically used over an entire mix, isolated instruments/instrument groups, or all of the above? *Would a pair of nearfields and a pair of spaced omnis be an appropriate way to handle playback and capture of the room? Thanks! Steve my suggestion, since you have limited time in the church is to maintain as much flexibility as you can.. to do this playback each instrument seperatly, and record the reverb using as many mics and tracks as you have available. then when you get back home, you will have recorded several independent reverb signals for each instrument and you can select and combine them as you like in the mixing... Mark |
#5
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Church as echo chamber
You might be interested in "convolution reverbs". These reverbs
sample and model the acoustical environments of real spaces. They use a lot of computer cpu cycles, but it's worth it. Especially in your situation, where it looks like you are placing a single reverb over the entire mix. Is your reverb experiment with mabye a set of $500 or $1000 speakers and average (?) microphones going to beat the results of the specialists? Are you guaranteed a truck won't drive by when you are trying to capture your reverbs? Does your mobile recording rig have outstanding digital converters? Just some stuff to think about. Convolution reverbs are seriously outstanding when done right. |
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