Hi gang :)
I found a very cool interview with Bob Olhsson on YouTube, where he talks about ALL kinds of interesting things. Things like EMT Plate Reverb, Chamber, (both of which at the time were known as "echo", not "reverb"!)
He also talks about things like the acoustics of the room; before Motown had their studio, it was a photography studio, and they had installed a soft pine floor so that they could nail gear down, (like camera tripods and such) and as it turned out, the soft pine floor ended up being a great thing acoustically for the recording studio. :)
Hi Bob! If you see this post, I was wondering if you could tell me, when you were using EMT Plate Reverb, did you ever EQ the returns from the plate to fit the context of the song, or did you just leave the plate sounding the way it did on the return, or, was adjusting EQ on the plate or chamber echo even possible at that time?
Thanks, :) … d.)
This interview was REALLY informative, especially for me right now, as I'm working on a song that has a Motown vibe.. I'm doing a mix that reflects more current sonics, but it's also been suggested to me that I consider doing a sort of "retro" mix version as well, to try to incorporate sonic elements from that time ( mid 60's).
Anyhoo, Here's the interview. It's a great listen!
Room mic (everything mic) and a few for the group, how can you
Interesting Bob brings up using Parellel compression on classica
Interesting Bob brings up using Parellel compression on classical. I’ve always read and heard how precious the dynamic range in in classical, and didn’t think it was common to use any compression at all. I’ve heard of doing fader rides to tape in that situation. Very cool.
Also, he’s a fellow Samplitude user! Very awesome, he uses it for mastering.
It appears however we have conflicting information on the use of splayed (non-parallel) walls for echo chambers. Bob says splayed walls Should be used. I’ve heard, that this is not always the case. Strictly speaking for chambers, parallel walls will promote more reflections, and a less even acoustic response, as well as slap and pings that may or may not be desireable. Since most stairwells and bathrooms, which are common echo chambers, are rectanglar, it seems to me splayed walls are more of an option.
The chamber I built has one splayed wall, plaster walls and ceiling with a concrete floor. It also has similar (10ft) dimensions for height and width, and being about 16ft long. Tracking room nightmare dimensions, drum room verb heaven. Ala when the levy breaks. Normandy has a splayed ceiling, and similar dimensions. Normandy’s chamber is a in a section of the hallway, and the one I built from scratch (the wave cave) is the entrance hall, which was originally planned to be a little cafe/lounge. That’s until we heard the drum sound. Both chambers can be heard on a couple top 5 songs, from the past couple years, and dozens of albums and chart toppers from Normandy’s 80’s-90’s heyday.
I’d be curious to hear from @Bob Olhsson himself, more elaboration on echo chambers, and their design. This is such a relevant technique today with sample based productions, and residential recording and mixing spaces. I certainly wouldn’t want to spread myth, if in fact cubiod and rectangular rooms are not desireable in any case for a chamber. I’d rather be corrected than spread myth.