1 Sep
2018
1 Sep
'18
11:21 p.m.
Off-topic:
On Sat, 01 Sep 2018 20:59:17 +0200, David Kastrup wrote:
Ralf Mardorf <ralf.mardorf(a)alice-dsl.net>
writes:
I've got a small guitar amp at hand with a small spring reverb. In
dislike this spring reverb and never use it. Since I don't have the
room to store my huge keyboard amp, I permanently borrow it a friend,
but I'm missing it's large spring reverb a lot.
I once visited an orchestra recording done by a famous American audio
engineer. I was deeply impressed of the amazing reverb. The reverb
available by the French sound studio truck used by the American
engineer was a professional, aged L...egend. But no, the engineer
didn't use this "L"everb. The reverb was made by two overhead
"N"icrophones. This time my employer made "B"icrophones. I suspect
the
"B"icrophones as well as any other large (and perhaps even small)
diameter microphones would have done the job of the "N"icrophones, too.
If we have the fortune to get reverb by an original spring, that isn't
too small or by a real hall made for music performance, we should use
it, if we could.
Sometimes we might not have the microphone, or the build in DI box of
the keyboard amp is fishy and does produce unwanted noise (mine is
a Peavey KB-300 ;).
On Sat, 1 Sep 2018 20:15:00 +0200 (CEST),
Jeanette C. wrote:
Maybe I need to figure out the impulse response (and find a way to
emulate it with reasonably sparsely populated filter structures) of the
spring reverb in my rotating "Solton Turbojet" speaker. I'd say most of them are churches, possibly
followed by concert and
theatre halls.
A lot, if not most of impulse response recordings available for free
as in beer aren't from churches, concert and theatre halls, they are
recordings from stand alone reverbs of a company world-renowned for
it's digital reverbs. Regarding Wikipedia the vendor
"is considered "the godfather of digital reverb""