[Peter Larsen[_3_]]

rakman wrote:

OK, going by the flow, think classical, don't think pop. Which is to
say that you need to find the motherlode, the single setting that
works for all her vox.

Are there any articles on that subject out there?

Beatles (Martin), Hendrix (Kramer), early Janis Ian, Doors live 2lp -
anybody know what the audience commotion recorded on it is about? - Ritchie
Blackmore's Rainbow, amazing album. Janis Ian is strange, back in the 1980's
I used to demonstrate the demise of the art of recording by playing a song
from each of three albums, newest first. Oldest sounds as if recorded on a
Hollywood sound stage by a very good movie orchestral recording engineer, it
is soo good, so intense, so clear.

Go to a Kramer lecture if he has an AES lecture within affordable distance.

Taking ideas from classical recordings in pop?
It's been said by many engineers that electronic producers
need to go out and watch an orchestra to learn
about music and learn about sound/acoustics and I'm sure
there's a lot of truth to it.

That is what chamber music concerts are there for. Learn to deploy a pair on
a quartet, you will then know how to get it intensely right if on an
imagined reamped rock guitar trio. Yes, you can fake it with a "room
designer" type verb, knowing actual acoustic events is helpful when faking a
room, but the real thing tends to be me chaotic and airy. My first choice if
ever reamping guitars would be open back cabinets .... why I like them: I
have made some early "few microphone" rock recordings, there is one with a
pair of 441's in front of the drumkit and a distant open back fender into
the main pair, so good, so good, so good. It is also screwed up because one
of my 421's back then was a HL and Sennheiser only had a "every certified
electronics engineer understands this" diagram in their documentation and
not the simple clear text warning that should have been there to the effect
that polarity from that mic will be inversed if used with a standard mic
cable.

How Leif Roden used analog delay in concert sound comes to mind, I
think it was a yamaha, I get the wild idea of looping through one
and adding it in parallel as a "shadow vox". Methinks the "body" you
search is there. And this one you could gain- or envelope-ride in a
box.

Hm. I might make the envelope way snappier and
shorter on the drums and all instruments during the
verses to make space for the vocals, at the moment
delays just make stuff sound muddy.

I've never played with such an analog delay, I just have a snippet of board
tape demonstrating how he used it. Yes, it "muds". On the general note of
adding verb, this is just a special case thereof, it is my opinion that many
people start out using too short pre-delay and too much, more predelay
allows you to use less and thereby preserve clarity while adding perceived
depth of perspective. My experience with ambience mikes - is that the
average level of their signal should be in the -17 to -13 dB range compared
to the average level of the signal they augment. Above that I feel that I
loose clarity. Sounds to me as if many guys out there likes to have their
"echo return" at -8 to -6 dB to compensate for not getting enough room
enlargement because of using too short predelay, but that is just my
opinion.

Thanks.

Gee, you're welcome, I'll get off of my pet hoppy rant horse and get my
morning coffee now, it should be ready ...

Kind regards

Peter Larsen