From: Dave J <djensen@claven.idbsu.edu>
Subject: Re: Effects and DAT recording
Organization: Morrison Center for the Performing Arts
Distribution: usa
Date: Sat, 15 Aug 1992 21:49:29 GMT

As is usually the case, this thread wants to wander away from the original
poster's intent.

Gabe makes a good case for not using digital reverb... when parameters such as
mic type and placement, or choice of venue, have little or no restrictions. One
might easily mistake his passion for authenticity and accuracy as a sign of
aloofness from the more mundane reality of "budget" recording, but I doubt this
is actually the case. 

Chris makes a good case for using reverb to eliminate applause without
sacrificing that satisfying sense ambient decay at the end of the piece (I have
pulled this off a time or two, myself). 

But I think the circumstances under which the original poster wished to use
artificial reverb might have been dismissed a little too readily.  I would like
to make a case for using post-production digital reverb to enhance a recording
made under less than ideal conditions. 

I record performances of the same 100-voice community chorale in three
different locations. Like Gabe, but maybe not to his extent, I have the
knowledge, desire, and most of the equipment to make the best of a given
situation. Unlike Gabe, I do this for a piddling amount of money due to a
lamentable compromise forged between the Chorale's lack of funds and my own
sizable vanity. 

One venue is a large Catholic cathedral. Here the natural reverb is too much
(gets harsh-sounding). I get a nice balance of articulation (both vocal and
instrumental) and ambience with only a pair of cardioids. No big deal.

Another location is a performing arts facility with a full orchestra shell and
excellent acoustics. From easily accessible catwalks I can hang a center
cardioid pair and a pair of spaced omnis for optimal effect. Again, no
problems, easy gig.

The dreaded other is a high school auditorium. Budgetary constraints make
playing there an unfortunate necessity for the Chorale. Now I suppose I could
just decline to hassle with the difficulties of recording in this place, but
they still want and need (for grant applications) a recording. I guess my
scruples are just not honed to such a fine degree as they should be because I
always end up agreeing to record them for the same paltry sum I charge for
recording at the more convenient locations, but not without a concession. 

Some minor inconveniences that make the auditorium such a headache to record in
include: nowhere to hang mics; nowhere to place the mics a decent distance away
except in the seating amongst the audience; no shell for projection, just open
stage behind the singers; and poor acoustics in general. But the number one
thing that prevents me from even trying to salvage any natural room sound is...
the folding-seats of the audience squeak and squeal like banshees. It's
outrageous, but true.

So rather than making any heroic efforts to capture every nuance of the lousy
acoustics (along with the inevitable chorus of seat-squeaks), I choose to keep
my sanity, reputation, and a little extra pocket change by recording close and
dry and adding artificial reverb in post. This concession has worked to the
advantage of all concerned. BTW, even when minimized in this fashion the
squeaks are still occasionally disconcerting.

I find it hard to believe that across the length and breadth of the planet
there aren't a few other situations that beg for a similar compromise. Under
those circumstances when reality wants to play particularly rough... I think
it's OK to just change it [reality] with digital reverb. So sue me!

Dave Jensen                           You see...what you want to see,
djensen@claven.idbsu.edu              And you hear...what you want to hear. 
expressing only myself                    - Harry Nilsson, "The Point"