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Mike Storey and His Plate Reverb (Video)
"Reverberation is the persistence of sound in a particular space after the original sound is produced," says Wikipedia. More often than not, in studio recordings reverb is added digitally; virtually every FOSS or proprietary sound-editing program has a built-in reverb utility. But what if you're the sort of purist who prefers the analog sound of vinyl records to the digital sound of MP3s or CDs? What if you're the kind of musician who records at the original Sun Studio in Memphis to get that original rock and roll sound? That may be overly picky for most musicians, but there are some who would rather sound like Johnny Cash than Flavor Flav, and they're the ones who are going to insist on real analog reverb instead of twiddling a setting in Audacity. There are many types of analog reverbs, of course. One of the purest types, preferred by many audio purists, is the adjustable plate reverb, and Jim Cunnigham's Ecoplate is considered by many to be the best plate reverb ever -- which brings us to Mike Storey, who wanted an Ecoplate-type plate reverb so badly that he spent eight months building one. He'll run your audio files through it for a (highly negotiable) fee, and maybe give you a bit of advice if you want to build your own, although his biggest piece of advice for you (at the end of the video) to think long and hard before you become a home-brew reverberator, with or without advice and components from Jim Cunningham.
DDD audio CDs are the purist sound because there's no possible tape hiss or snap/crackle/degradation of needle on vinyl.
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I worked in a recording studio that had a nice, large, live room - no parallel walls (including the ceiling/floor). Very often we would use that room as the reverb in our mixdowns. A single high-end speaker in one end and a couple of nice mics on the other was the sweetest reverb you could get. If you have a good sized garage that is "bouncy", you can get a nice short verb out of that.
Plate reverb is synthetic reverb. It is done, literally, by making a large metal plate vibrate. These days it is very rarely done as an actual physical thing since it can be simulated very well digitally, and with more flexibility.
However, any time you have a new technology, there are always "purists" who claim that it ruins everything and want to do it the old fashion way, hence there are places with real plate reverb units.
Actual room reverb or ambiance is captured just as function of recording in that space. The micing techniques you use (like what kind of pickup, how close to the musicians and so on) controls the amount. It can also be added later to quite a high degree of realism by taking an impulse of the room and using digital convolution on the audio signal. Still not quite the same as an actual recording in the space for various reasons, but close.
In terms of studios with famous ambiance, East West has one of the better ones out there. They bought the Cello Studios in California and there are some very good sounding rooms there. On account of that, many acts hire out the space to record in. It is also where they record their own samples, of course.
And they had 5 of the Ecoplate monsters. They have a sound all to their own - bigger, fuller, warmer, with more depth, that couldn't be duplicated any other way, and Warners had about every type of reverb at the studio. You have to sit in a control room, listening through great monitors like Westlakes, to hear what they do to vocals and drums. For voice, a good C12 and an Ecoplate will put a S$^t eatin' grin on any engineer's face.
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Because it's geek-worthy. This sort of equipment has been used all over the world for decades, but is becoming obsolete. Just like vacuum tubes or computers, sure, plate reverbs have been used for decades. But how many people do you know that have ever hand-made either? As audio geek, it excites me to know people still have enough hacker spirit left in them to home-brew this sort of thing, just as much as it excited me to read about the guy who built his own computer from logic gates. Different level of complexity, same spirit. Seriously, I don't mind finding the occasional "hackaday" style post on Slashdot. Keep them coming please.
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had a technique where he would pipe the audio from the recording studio down to a basement where loudspeakers played the audio and picked it back up on microphones and back to the control room. I always thought that it would be fun to try if I had access to a large warehouse or something.
somewhere along the lines of history, they added the 'reverb' knob to amps - and from there, people seemed to think any form of DECAY is REVERB.
... the propagation of incorrect use (eg, hijacking) of the term REVERB continues.
it is not, although many use it as slang. but most do not appear to understand the true definition of REVERB and thus REVERBERANT SOUND-FIELD, and the volume requirements required to support such energy flows.
a reverberant sound-field is one where the energy flows are statistically equal and probable in every direction. one cannot resolve an indirect specular reflection's gain, time arrival (with respect to the direct signal), and vector (direction). the energy is "well-mixed".
and the bounded acoustical space's volume required to support such a reverberant sound-field at a given frequency is dictated by Dr. Manfred Schroeders work in this field - and also his FsubL equation.
without the existence of a statistically "random-incidence" "diffuse-field", you do not have "reverb".
people seem to imply any form of signal decay or acoustical decay of a bounded space as being "reverb". this is entirely incorrect. in small acoustical spaces that lack the volume to support a reverberant sound-field at a given frequency, we instead of focused specular reflections and modal issues - all local areas of variable pressure with respect to the ambient noise floor. what reverberation that DOES exist is above our hearing range and below the ambient noise floor. this is also why you do not have a critical-distance (Dc) of which the reverberant sound-field becomes louder in gain than the direct signal. this is also why RTxx (RT60) calculations and Sabine's equations are entirely irrelevant unless one is within a Large Acoustical Space.
and now with Plate Reverbs or any other "FX" knob that applies a form of decay to a signal
http://www.hometheatershack.com/forums/home-audio-acoustics/12027-appropriate-replacement-rt60s-sas.html
For free, you can send your sounds into a grain silo in Quebec for reverberation: http://www.silophone.net/ Unfortunately, this project is so old it uses RealAudio.
WELL! True audiophiles know that "plate" reverb is still just a messy hack and you end up hearing metal in your recording. True audiophiles build their home next to a cave. Then using audiophile gear to drive the sound at the far end, it is mic'd at the other end with a gold spattered tube condenser mic. Reverberation times are changed both by moving the source closer or farther from the mic or partially filling the cave with Perrier for that true "wet" reverb sound. When you are adding .275 sec to the last 4 seconds of a baritone oboe for dramatic emphasis you don't settle for some hillbillies "plate " reverb....
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