Reverb can be used to place elements of the music in a space. It can create a feeling of cohesiveness or be used as a creative effect. Often it is used for all that. Whatever your room does is irrelevant to the person mixing the song. They are, in a way, painting a picture without knowing what wall it will eventually be put on.
I was gonna say something similar Some people draw things from environment and try to recreate as real looking as possible Some people enhance it a little Some people go creative and paints from imagination/non realistic stuff +Similar things happen in music production/mixing Reverb and other effects can be compared to spices for food You add by your taste
What i often miss in listening is placement of instruments.In an acoustic cncert of e.g. a trio with a voice, a guitar an a stand up bass I want to be able to determine where the bass is. Adding reverb may support that, but in the end it's all artificial.
The engineer leans back in the chair after a vocal take and asks; ''what room do you want me to put you in?'' Reverb is a dark art, but what it does in my view, is place the music in an environment to further the emotion, and also it can be a pace to further the EQ'n process. The reggae engineers would isolate the reverb and eq from there. It is a creative colour to use in mixing. It is like salt though, once it is in the final mix it is hard to take it out! Reverb comes in many forms, plate, spring, chambers, IR's...
There's one of the benefits of modern DAWs and having (within reasonable limits) no track limitations that you'd have in a 24-track studio... Right? Your reverb never needs to be burned permanently into any of your tracks and can have its own. Now if we're talking about the master tapes - yeah... you're stuck with the choices made for reverb.
When I was in Korea in 1969 a buddy of mine and I had the exact same stereo setup(Sansui 200 rceiver, AR Turntable and a pair of Sansui speakers), the receiver and TT were pretty good - the speakers not so much. We were in one half a Quonst hut and the systems were side by side and sounded the same. A cople of months later he added a Fisher Space Expander to his setup.That was a variable reverb that had the reverb tank and a single tube. We found The reverb really added some pizzaz to the sound but you had to use it sparingly, just a dab would do ya!
A lot of music is made with the aim to sound the most pleasurable and that metric often doesn’t reflect realism. I must admit my favorite music is much more about how pleasurable it sounds than how genuine realistic it sounds.
As a sound engineer, one of my favorite cover songs for me to mix while our band played was Strawberry Fields by The Beatles. It goes from wet to dry and back again many times. It is a good song to listen to for those who want to hear how changing the reverb can affect the vocals.
I’m a graphic artist and work in marketing/advertising. I often have to illustrate cut-out promotional items on a plain, white background. To visually lift the objects off f that 1-dimensional surface, I “artificially” add a drop shadow behind the items. It’s something the viewer doesn’t really perceive as being present, but occurring naturally when an image was originally photographed, when it may or may not have been. We both use elements of the technology to create naturalness.
Adding all kinds of signal processing, including reverb, are just electronic, or acoustical ways to add to the big lie that stereo reproduction is from the start. And lie as it may be, it can be enormously satisfying. I've played with every kind of processor in both recording, and sound creation with analog and digital synthesis. They are only tools to make music that can be reproduced in the end listeners environment. That being said, the end listeners environment should not have too much reverb, echo, dampening or phase cancellation so it does not interfere with the recordings intended sound. One of my first music rooms ended up being so dry and absorptive I had to add ambiance (reverb) to my playback to give it life and dimension. This was a very clean and carefully selected reverb and not a "spring" reverb from some old guitar amp. Why do human beings like the sound of reverb? I have no idea but most of us do even when it really does nothing to add any realism to the recording. Delay is another process that can do all kinds of things to trick you into believing the stereo lie . All this being said , as I have aged, my appreciation of recordings of the human voice, with great mic's and preamps, can be extremely satisfying when played back through a truly well setup stereo system. As Paul mentioned, with the female vocalist, reverb can actually detract from it. Others hide their weaknesses vocally, behind processing in general including the biggest lie of all, Antares Auto Tune.
An easy way to think about this is from a carpentry standpoint. If you’re building a really solid piece of furniture, you use 3 methods to create a long-lasting, multi-dimensional connection uses joint work, a fastener and glue. Reverb is somewhere around the glue part of things.
My fathers system had a reverb unit added to the rear height speakers (located in our dining room). I believe the reverb unit was out of a car audio rig, he had a car 8-track cartridge there too. Sansui AU100 amp R2R tape player and vinyl rig. His fave tho was the FM Stereo tuner.
As a drummer and live venue owner, I think Paul's response was very accurate and simply put. Excellent question and topic. I had never really thought about it before. My answer would have been the exact same probably. Thanks for always being interesting, Paul! I've been happily subscribed to this channel for a few years now!
Wow, so many people are WAY overthinking reverb. Recording & mixing is a creative process and we are creating art. Reverb is just another color we have the paint with, and it's up to the artist how he/she wants the song to sound. We can try to make the music sound natural or completely super-natural. That's the artist's prerogative, not the listener's.
The reverb is tuned by calculating or ear listening to the BBM of the track (the reverb stops at the next beat) a good room reverb will add the same positive effect to track added reverb...They follow the beat!
In studio there are dry spots and wet spots accusticly. However when you mix you have panning left and right, but to create spacial differences what's back to the front of the mix is reverb either spring, plate, or digital delay, to give it that imaging it requires to give it left right center front and back feel in a recording. Like a camera using an iris for depth of field for a film camera these techniques are used much the same way audio wise.
For my ears, Reverberations are the bouncing Sounds in differing Sound Venues that we are trying to Capture for Playback! In well insulated Studios the Recordings are "dry" No bounce! That is why Reverb is Synthesized/Added In to Mix to Recreate the Live Hall Concert Sounds! Paul, I love your explanations and New Vocabulary! Keep up the Great Work!
One thing I wanted to mention, is that the reverb in a room is much shorter than any reverb that would normally be added to any recording. There wouldn't be any conflict. Your ears would differentiate the two as distinctly different.
@@Harald_Reindl As a person who has been on both sides of the glass and a person who worked as a live sound engineer for years... trust me. They are very different animals. One's ears will always differentiate.
Reverb and room noise: same stuff. However, room noise can sound different, depending on the dimensions of the room, and the amount of dampening in that room. Reverb is just a simulation of that. So, what it comes down to is: good room noise and bad room noise. This discussion begs the subject of why we find reflected noise to be appealing. Most of us don't live in environments where reflected noise is dramatic enough to create a difference from what we normally hear. If we go under a bridge or in a tunnel, and talk or sing (or play an instrument), we get reflected sound that is very different than what we normally experience with sound, in our everyday lives. It may be the unusual nature of this that is part of the appeal? It's like nature's special effect.
An interesting question. I do live mixing, and I use lots of reverbs. but it usually doesn't sound reverby? I like to think it just sounds "good". I was wondering how Paul was gonna tackle this one.
There's a ton of 70s music I love best in memory since the reverb on the releases is so much more than I remember. Too dry is its own thing, but it's like garlic, much easier to add than remove.
Are you playing the original records or more recent rereleased? I've found compilations and beat of releases are often reprocessed to sound more like they're playing from a car in the garage.
There's always a room - and there are always problems. Think of mix engineering a bit like editing a newspaper. You can't record the whole absolute truth (and you wouldn't really want to, and how to even define it?!) - you're always focusing somewhere and leaving something out. In other words: There's a limit to how far you can go towards 'capturing the performance'. When you choose a room, you've already started shaping the sound. Then there's placement of performers and microphones, types of mics and preamps... It goes on ad infinitum. Such simple choices affect the sound, mainly in two ways: The overall balance of the dry instrument sound vs. the room, and how the mic+placement+preamp equalizes that combined sound. Now we get to mixing! Can you cram a great room into two speakers? Not really. Can your living room contain all of the Berlin Philharmonic? Far from it. But we do have something working for us: Our brains are frankly amazing at discriminating room reflections from direct sounds unless circumstances are terrible. This is very important! That's the main reason we can listen to two speakers and get a great sense of- well, a room. Not necessarily the room in which the recording was made, but whatever room was created in the mix. A couple of exercises: - Think of a wide variety of music. Can you come up with something that presents just pure, direct sound with no sense of space? If you can, does it sound good to you? Even totally 'artificial' electronic music usually exists in some kind of room. - Make a good recording of a good hi-fi system in a good room. Now listen to it. It'll make it quite clear how much work your brain does to not hear the room. Try playing it back into the room.
Your explanation sounds quite logical. And, you explained it well. Good job. Being a recording musician, I have to make decisions on how much reverb to use. I've used it sparingly, and I've used it liberally (don't you love that, apply liberally) along the way. The reverb really does effect the sound in a percieved way of making it more "professional" when reverb is used. Sometimes I buck this idea, though, and go straight for a dry sound. Here's an example of my doing that. This is a two minute song, one man band style. ua-cam.com/video/JyBneyt-AFc/v-deo.html
A little reverb or certain other effects can serve to normalize the disparity between different listening rooms and different playback systems making the final result more predictable.
You don't need anything in theory, if you just want "the most natural sound possible like if you were in the room", just record in a daw, all digital with some binaural technique or something and no processing. If we still use tape, analog consoles, vintage compression and all that stuff, it's because the "real" sound is boring and we want to distort it 💗✌️ sometimes you need to lie to tell the truth
what he's asking is, if added reverb in the recording, when played back, woudl it be too much reverb because of the echo in the playing room... and i woudl say, the goal of the listening room is not add to the sound as much as is tolerable, so any echo by the room should be minimal and not add toooo much to what reverb the recording has. the room should have enough treatment to get rid of too much echoing, but not so much that they make the room dead. and i would say, if a track coould do with a bit more reverb, it could be useful to remove some treatment to let the room echo match up.. or just use a reverb adder. echo chamber. lol
I record/ capture IR's, out in the woods, culverts, large water totes, barns, caves etc, then I add these IR's to put my music in [or others music], basically if I record drums in my dry studio, I can then put them [drums] in a barn etc, thus the kick drum comes alive for example. Essentially reverb is just that: Impulse Response Convolution [IR's]. Often the musician hears their instrument the way they want to hear it. The process is broadcasting a full spectrum sweep into a space, whilst recording it with a pair of matched mic's. It becomes part of the creative, the imagination, the emotion. Over-cooking things is indeed ''so much for ultimate transparency '', but as recordists/ mixers/ musicians we strive for what is the best outcome of the emotion, one would hope. Some people just cook things because they have the gear and want to use it. I will play my drums much differently in a cave than in a small club. The room is the other person in the conversation. The key word here is taste.
Consider what 'ultimate transparency' means and how you'd go about achieving it. A singer in a church, for instance. Where do you put the singer? Where do you put the listener: What microphone(s)? Their placement and orientation? The preamps? How much room do you want? How much rumble from the nearby highway do you want for true fidelity? All those decisions balance and equalize your mix at the outset. Now, do you accept compromises when mixing the whole performance and its environment down to a couple of channels, or do you want a unicorn to do it for you? I think focus is a more useful concept than ultimate fidelity.
@Todd T Yup. That is exactly how it is. And most engineers mixing/recording are not even after truthuly representing the source in recordings, but making it prettier than life. It is not just reverb that's used for it. It starts from microphone choice, mic placement, preamps and every other decision made down the road. Famous microphones, that are much loved, are actually incredibly colored (u87, c12 and many others). Transparency to the live source is largely a dream :)
Why do Studios add background noise "Music" while an actor is speaking? Why do studios add laugh tracks? Why do studios add screaming fans to a sports broadcast? While watching football on TV I hit the mute button and my ears are relieved.
Live sportscasts generally are using source audio of the actual stadium. Only when we go into post to do a feature or promo do we sweeten a sports event.. But generally I try to stick to this with source audio or if unavailable only when one can see the crowd reacting.
@@johndii2194 I'm not too sure what you're talking about specifically. But the game has noise, it's in a stadium full of people. Do you want a silent game with just commentary? Not sound of players, ball hit or whatever (I hate sports) no bells horns or buzzers? Whatever game noises? Live broadcasted events aren't generally "sweetened" ie adding canned laughter, cheering.. it's what the game/event sounds like. Pre recorded events might be (lots of standup comedy is) As for "studios" adding music under dialogue, you'd need to bring that up with the director.. that's an editorial call based on their direction. Though generally the main dialogue in a film will be way above and background music, unless it's really really badly mixed, or (if you're listening on a 5.1 plus system, your centre channel isn't calibrated properly)
@@drdelewded One day you will realize all the extra noise is just noise. Watching 2-D TV with 3-D sound drives me crazy. The camera position changes but the audio position stays the same. 3-D music with no TV is great.
Why are you using a vintage studer ? If you just want to hear an artist in the room, you should get yourself a cleaner 9000k, a Neve RS or something cleaner 🤣 If you are using the studer, I imagine you like saturation and this vintage drive, so you're not just looking for "someone in the room in front of me", you're looking for vibe and groove like every other f*kin music lover, say it ! 💖✌️🤣
Reverb can be used to place elements of the music in a space. It can create a feeling of cohesiveness or be used as a creative effect. Often it is used for all that. Whatever your room does is irrelevant to the person mixing the song. They are, in a way, painting a picture without knowing what wall it will eventually be put on.
Nicely put
I was gonna say something similar
Some people draw things from environment and try to recreate as real looking as possible
Some people enhance it a little
Some people go creative and paints from imagination/non realistic stuff
+Similar things happen in music production/mixing
Reverb and other effects can be compared to spices for food
You add by your taste
Great analogy for mixing engineer
Yes. This.
What i often miss in listening is placement of instruments.In an acoustic cncert of e.g. a trio with a voice, a guitar an a stand up bass I want to be able to determine where the bass is. Adding reverb may support that, but in the end it's all artificial.
The engineer leans back in the chair after a vocal take and asks; ''what room do you want me to put you in?'' Reverb is a dark art, but what it does in my view, is place the music in an environment to further the emotion, and also it can be a pace to further the EQ'n process. The reggae engineers would isolate the reverb and eq from there. It is a creative colour to use in mixing. It is like salt though, once it is in the final mix it is hard to take it out! Reverb comes in many forms, plate, spring, chambers, IR's...
There's one of the benefits of modern DAWs and having (within reasonable limits) no track limitations that you'd have in a 24-track studio... Right? Your reverb never needs to be burned permanently into any of your tracks and can have its own. Now if we're talking about the master tapes - yeah... you're stuck with the choices made for reverb.
When I was in Korea in 1969 a buddy of mine and I had the exact same stereo setup(Sansui 200 rceiver, AR Turntable and a pair of Sansui speakers), the receiver and TT were pretty good - the speakers not so much. We were in one half a Quonst hut and the systems were side by side and sounded the same. A cople of months later he added a Fisher Space Expander to his setup.That was a variable reverb that had the reverb tank and a single tube.
We found The reverb really added some pizzaz to the sound but you had to use it sparingly, just a dab would do ya!
Audio engineer to producer (with hand on reverb control): "Here, let me add a little 'talent' to that."
A lot of music is made with the aim to sound the most pleasurable and that metric often doesn’t reflect realism. I must admit my favorite music is much more about how pleasurable it sounds than how genuine realistic it sounds.
As a sound engineer, one of my favorite cover songs for me to mix while our band played was Strawberry Fields by The Beatles. It goes from wet to dry and back again many times. It is a good song to listen to for those who want to hear how changing the reverb can affect the vocals.
wet to dry? do you mean an echo to no echo?
I’m a graphic artist and work in marketing/advertising. I often have to illustrate cut-out promotional items on a plain, white background. To visually lift the objects off f that 1-dimensional surface, I “artificially” add a drop shadow behind the items. It’s something the viewer doesn’t really perceive as being present, but occurring naturally when an image was originally photographed, when it may or may not have been. We both use elements of the technology to create naturalness.
That is a very well placed analogy. Makes so much sense.
Adding all kinds of signal processing, including reverb, are just electronic, or acoustical ways to add to the big lie that stereo reproduction is from the start. And lie as it may be, it can be enormously satisfying. I've played with every kind of processor in both recording, and sound creation with analog and digital synthesis. They are only tools to make music that can be reproduced in the end listeners environment. That being said, the end listeners environment should not have too much reverb, echo, dampening or phase cancellation so it does not interfere with the recordings intended sound. One of my first music rooms ended up being so dry and absorptive I had to add ambiance (reverb) to my playback to give it life and dimension. This was a very clean and carefully selected reverb and not a "spring" reverb from some old guitar amp. Why do human beings like the sound of reverb? I have no idea but most of us do even when it really does nothing to add any realism to the recording. Delay is another process that can do all kinds of things to trick you into believing the stereo lie . All this being said , as I have aged, my appreciation of recordings of the human voice, with great mic's and preamps, can be extremely satisfying when played back through a truly well setup stereo system. As Paul mentioned, with the female vocalist, reverb can actually detract from it. Others hide their weaknesses vocally, behind processing in general including the biggest lie of all, Antares Auto Tune.
Perhaps humans like reverb for the same reason architecture is important. We can think better in a room with a high ceiling.
An easy way to think about this is from a carpentry standpoint. If you’re building a really solid piece of furniture, you use 3 methods to create a long-lasting, multi-dimensional connection uses joint work, a fastener and glue. Reverb is somewhere around the glue part of things.
My fathers system had a reverb unit added to the rear height speakers (located in our dining room). I believe the reverb unit was out of a car audio rig, he had a car 8-track cartridge there too. Sansui AU100 amp R2R tape player and vinyl rig. His fave tho was the FM Stereo tuner.
As a drummer and live venue owner, I think Paul's response was very accurate and simply put. Excellent question and topic. I had never really thought about it before. My answer would have been the exact same probably. Thanks for always being interesting, Paul! I've been happily subscribed to this channel for a few years now!
Oh boy, that's a meaty looking Studer!
Wow, so many people are WAY overthinking reverb. Recording & mixing is a creative process and we are creating art. Reverb is just another color we have the paint with, and it's up to the artist how he/she wants the song to sound. We can try to make the music sound natural or completely super-natural. That's the artist's prerogative, not the listener's.
The reverb is tuned by calculating or ear listening to the BBM of the track (the reverb stops at the next beat) a good room reverb will add the same positive effect to track added reverb...They follow the beat!
In studio there are dry spots and wet spots accusticly. However when you mix you have panning left and right, but to create spacial differences what's back to the front of the mix is reverb either spring, plate, or digital delay, to give it that imaging it requires to give it left right center front and back feel in a recording.
Like a camera using an iris for depth of field for a film camera these techniques are used much the same way audio wise.
For my ears, Reverberations are the bouncing Sounds in differing Sound Venues that we are trying to Capture for Playback!
In well insulated Studios the Recordings are "dry" No bounce! That is why Reverb is Synthesized/Added In to Mix to Recreate the Live Hall Concert Sounds! Paul, I love your explanations and New Vocabulary! Keep up the Great Work!
One thing I wanted to mention, is that the reverb in a room is much shorter than any reverb that would normally be added to any recording. There wouldn't be any conflict. Your ears would differentiate the two as distinctly different.
A lot of people have a hard time being able to hear their room anyway
Nonsense! Reverb of your room also multiplies the room on the record - that's why room acoustics exists
@@Harald_Reindl Of course we want to minimize room echo as much as possible, but the two are completely separate, and a person's ears know this.
@@thomaswachter7782 the ear no longer knows anything when your room adds a ton of reverb
@@Harald_Reindl As a person who has been on both sides of the glass and a person who worked as a live sound engineer for years... trust me. They are very different animals. One's ears will always differentiate.
Reverb and room noise: same stuff. However, room noise can sound different, depending on the dimensions of the room, and the amount of dampening in that room. Reverb is just a simulation of that. So, what it comes down to is: good room noise and bad room noise. This discussion begs the subject of why we find reflected noise to be appealing. Most of us don't live in environments where reflected noise is dramatic enough to create a difference from what we normally hear. If we go under a bridge or in a tunnel, and talk or sing (or play an instrument), we get reflected sound that is very different than what we normally experience with sound, in our everyday lives. It may be the unusual nature of this that is part of the appeal? It's like nature's special effect.
Like vibrato, to paraphrase my music prof, reverb hides a multitude of sins in less than professional recordings.
An interesting question. I do live mixing, and I use lots of reverbs. but it usually doesn't sound reverby? I like to think it just sounds "good". I was wondering how Paul was gonna tackle this one.
There's a ton of 70s music I love best in memory since the reverb on the releases is so much more than I remember. Too dry is its own thing, but it's like garlic, much easier to add than remove.
Are you playing the original records or more recent rereleased? I've found compilations and beat of releases are often reprocessed to sound more like they're playing from a car in the garage.
There's always a room - and there are always problems.
Think of mix engineering a bit like editing a newspaper. You can't record the whole absolute truth (and you wouldn't really want to, and how to even define it?!) - you're always focusing somewhere and leaving something out. In other words: There's a limit to how far you can go towards 'capturing the performance'.
When you choose a room, you've already started shaping the sound. Then there's placement of performers and microphones, types of mics and preamps... It goes on ad infinitum. Such simple choices affect the sound, mainly in two ways: The overall balance of the dry instrument sound vs. the room, and how the mic+placement+preamp equalizes that combined sound.
Now we get to mixing! Can you cram a great room into two speakers? Not really. Can your living room contain all of the Berlin Philharmonic? Far from it. But we do have something working for us: Our brains are frankly amazing at discriminating room reflections from direct sounds unless circumstances are terrible. This is very important!
That's the main reason we can listen to two speakers and get a great sense of- well, a room. Not necessarily the room in which the recording was made, but whatever room was created in the mix.
A couple of exercises:
- Think of a wide variety of music. Can you come up with something that presents just pure, direct sound with no sense of space? If you can, does it sound good to you? Even totally 'artificial' electronic music usually exists in some kind of room.
- Make a good recording of a good hi-fi system in a good room. Now listen to it. It'll make it quite clear how much work your brain does to not hear the room. Try playing it back into the room.
Your explanation sounds quite logical. And, you explained it well. Good job. Being a recording musician, I have to make decisions on how much reverb to use. I've used it sparingly, and I've used it liberally (don't you love that, apply liberally) along the way. The reverb really does effect the sound in a percieved way of making it more "professional" when reverb is used. Sometimes I buck this idea, though, and go straight for a dry sound. Here's an example of my doing that. This is a two minute song, one man band style. ua-cam.com/video/JyBneyt-AFc/v-deo.html
A little reverb or certain other effects can serve to normalize the disparity between different listening rooms and different playback systems making the final result more predictable.
Reverb. The only special affect I need.
You don't need anything in theory, if you just want "the most natural sound possible like if you were in the room", just record in a daw, all digital with some binaural technique or something and no processing. If we still use tape, analog consoles, vintage compression and all that stuff, it's because the "real" sound is boring and we want to distort it 💗✌️ sometimes you need to lie to tell the truth
what he's asking is, if added reverb in the recording, when played back, woudl it be too much reverb because of the echo in the playing room... and i woudl say, the goal of the listening room is not add to the sound as much as is tolerable, so any echo by the room should be minimal and not add toooo much to what reverb the recording has.
the room should have enough treatment to get rid of too much echoing, but not so much that they make the room dead. and i would say, if a track coould do with a bit more reverb, it could be useful to remove some treatment to let the room echo match up.. or just use a reverb adder. echo chamber. lol
From my amateur standpoint, too many raw recordings sound too damn dry and dull. Artificial Reverb - in this case - makes things sound much better.
Add reverb or the sound becomes dry, flat and too forward
So essentially the recording is being colored with additive effects... so much for ultimate transparency to the live source LOL.
I record/ capture IR's, out in the woods, culverts, large water totes, barns, caves etc, then I add these IR's to put my music in [or others music], basically if I record drums in my dry studio, I can then put them [drums] in a barn etc, thus the kick drum comes alive for example. Essentially reverb is just that: Impulse Response Convolution [IR's]. Often the musician hears their instrument the way they want to hear it.
The process is broadcasting a full spectrum sweep into a space, whilst recording it with a pair of matched mic's. It becomes part of the creative, the imagination, the emotion. Over-cooking things is indeed ''so much for ultimate transparency '', but as recordists/ mixers/ musicians we strive for what is the best outcome of the emotion, one would hope. Some people just cook things because they have the gear and want to use it. I will play my drums much differently in a cave than in a small club. The room is the other person in the conversation. The key word here is taste.
Consider what 'ultimate transparency' means and how you'd go about achieving it.
A singer in a church, for instance. Where do you put the singer? Where do you put the listener: What microphone(s)? Their placement and orientation? The preamps? How much room do you want? How much rumble from the nearby highway do you want for true fidelity? All those decisions balance and equalize your mix at the outset.
Now, do you accept compromises when mixing the whole performance and its environment down to a couple of channels, or do you want a unicorn to do it for you?
I think focus is a more useful concept than ultimate fidelity.
@Todd T Yup. That is exactly how it is. And most engineers mixing/recording are not even after truthuly representing the source in recordings, but making it prettier than life. It is not just reverb that's used for it. It starts from microphone choice, mic placement, preamps and every other decision made down the road. Famous microphones, that are much loved, are actually incredibly colored (u87, c12 and many others). Transparency to the live source is largely a dream :)
Why do Studios add background noise "Music" while an actor is speaking? Why do studios add laugh tracks? Why do studios add screaming fans to a sports broadcast? While watching football on TV I hit the mute button and my ears are relieved.
Live sportscasts generally are using source audio of the actual stadium.
Only when we go into post to do a feature or promo do we sweeten a sports event.. But generally I try to stick to this with source audio or if unavailable only when one can see the crowd reacting.
@@drdelewded Why do studios add screaming fans to a sports broadcast?
Sportscasts are in a quiet room can't you keep the microphone in that room?
@@johndii2194
I'm not too sure what you're talking about specifically.
But the game has noise, it's in a stadium full of people. Do you want a silent game with just commentary?
Not sound of players, ball hit or whatever (I hate sports) no bells horns or buzzers? Whatever game noises?
Live broadcasted events aren't generally "sweetened" ie adding canned laughter, cheering.. it's what the game/event sounds like. Pre recorded events might be (lots of standup comedy is)
As for "studios" adding music under dialogue, you'd need to bring that up with the director.. that's an editorial call based on their direction. Though generally the main dialogue in a film will be way above and background music, unless it's really really badly mixed, or (if you're listening on a 5.1 plus system, your centre channel isn't calibrated properly)
@@drdelewded One day you will realize all the extra noise is just noise.
Watching 2-D TV with 3-D sound drives me crazy. The camera position changes but the audio position stays the same.
3-D music with no TV is great.
@@johndii2194 haha what? You must be watching some shitty mixed broadcasts.
Fun fact: Many albums from the 80's sound bright because of cocaine.
Write it on a toilet wall
Why are you using a vintage studer ? If you just want to hear an artist in the room, you should get yourself a cleaner 9000k, a Neve RS or something cleaner 🤣 If you are using the studer, I imagine you like saturation and this vintage drive, so you're not just looking for "someone in the room in front of me", you're looking for vibe and groove like every other f*kin music lover, say it ! 💖✌️🤣
He wont admit it..
Just start listening to some old 50's recordings...NO studio Reverb.
Just the room reverb and a simple mono one mic recording..
Its cute, but meh
greetings from Palestine
🤗 AND SOMETIMES…a whole new can of worms 🪱😁💚💚💚