Keith G wrote:

"David Kennedy" wrote in
message o.uk...
Keith G wrote:


snip



I think a little reverb flatters most music but worry this is injecting
a deliberate distortion into the recording/reproduction chain that we
see so much fuss about when it comes to stuff like the 'effects' of
using valve equipment in a recirding situation....??

True. But, the reverb [or what ever] effect could be achieved by the
room chosen for the recording...



Yes. The room (ambience) is precisely what the reverb software is trying
to create - hence the silly names on some of the presets like 'Metal
Tank' and 'Sewer'!

I can remember some [many] years ago recording guitar with an AC30 in an
old water cistern...

This one (same player, same instrument, same recording setup):

http://www.youtube.com/watch?v=XU4_k...eature=related


....is the somewhat OTT 'Cathedral' setting, but the interesting thing
is that all the people I have played it to have said they liked it!


As I said, there is very little [if any] unprocessed sound out in main
stream recordings these days.

--
David Kennedy

http://www.anindianinexile.com

"David Kennedy" wrote in message
o.uk...
Keith G wrote:

"David Kennedy" wrote in
message o.uk...
Keith G wrote:


snip



I think a little reverb flatters most music but worry this is injecting
a deliberate distortion into the recording/reproduction chain that we
see so much fuss about when it comes to stuff like the 'effects' of
using valve equipment in a recirding situation....??

True. But, the reverb [or what ever] effect could be achieved by the
room chosen for the recording...



Yes. The room (ambience) is precisely what the reverb software is trying
to create - hence the silly names on some of the presets like 'Metal
Tank' and 'Sewer'!

I can remember some [many] years ago recording guitar with an AC30 in an
old water cistern...



Boggle....



This one (same player, same instrument, same recording setup):

http://www.youtube.com/watch?v=XU4_k...eature=related


....is the somewhat OTT 'Cathedral' setting, but the interesting thing
is that all the people I have played it to have said they liked it!


As I said, there is very little [if any] unprocessed sound out in main
stream recordings these days.


I don't doubt it; I don't listen to much mainstream myself - recently, stuff
like Rachel's and any number of female singer/songwriters is the order of
the day if not staples. Outfits like these people are very 'acoustic' and
seem to be into the technical side of their recordings to ensure the right
result. Not commercial, needless to say....

Then again, OTOH, Oi Va Voi are pretty 'processed' and they are pretty much
in the same obscure vein.

In article ,
David Kennedy wrote:
As I said, there is very little [if any] unprocessed sound out in main
stream recordings these days.

In general, it's difficult to find a venue with a decent acoustic which is
well enough insulated from outside unwanted noise. Plus, of course, a
decent acoustic will often mean a large hall, etc. So more expensive than
a small near soundproof room and an eko plate. ;-)

--
*Indian Driver - Smoke signals only*

Dave Plowman London SW
To e-mail, change noise into sound.

"David Kennedy" wrote in message
o.uk...

I can remember some [many] years ago recording guitar with an AC30 in an
old water cistern...


Great fun! And it's good to get people guessing when they
ask "How did you do that?"

With a little imagination you can create very individual
effects. I have recorded drums at the bottom of a
six flight stair-well. The kit was spread over nine
tracks plus two for ambience. These ambience tracks
were gated long on the mix, to shut the reverb down,
cutting it dead, - a great effect.

Iain

Iain Churches wrote:
"David wrote in message
o.uk...

I can remember some [many] years ago recording guitar with an AC30 in an
old water cistern...


Great fun! And it's good to get people guessing when they
ask "How did you do that?"

With a little imagination you can create very individual
effects. I have recorded drums at the bottom of a
six flight stair-well. The kit was spread over nine
tracks plus two for ambience. These ambience tracks
were gated long on the mix, to shut the reverb down,
cutting it dead, - a great effect.

In London a few years ago I met the guitarist from Hot Chocolate and son
wanted to know how they got the guitar effect on the song "everyone's a
winner" was it fuzz etc. Nah, he said, I just used an old Washburn, it
always sounds like that since I dropped it...


--
David Kennedy

http://www.anindianinexile.com