Highly dynamic reverb—The recording studio always has what the performance hall sometimes wants

Abstract

The orchestra wishes to perform in a space whose acoustics offers flattering reverberation. That reverb is generally unchanging, from the beginning to the end of the performance. And that reverb must be “one size fits all,” as every instrument in the band is offered the same acoustic treatment. Not so in recorded music. When reverb is generated acoustically, mechanically, and digitally and introduced into the music by way of a mixing console or digital audio workstation, under the watchful ear of the creative recording engineer, highly variable reverb becomes possible. Momentary reverb, dynamic reverb, multiple contrasting reverbs, and still more variations not easily realized in a physical space are found common in popular music recordings, demonstrated and discussed here.