SH Spotlight Echo/Reverb history in recorded music..

Discussion in 'Music Corner' started by ROLO46, Mar 8, 2010.

  1. Dave112

    Dave112 Forum Resident

    I know these are originally supposed in mono but I do have a soft spot for them since that's how I first heard them. The echo and delay add a another dimension to the recordings. One man's trash is another man's treasure. I do enjoy learning about the technical details of recording from Steve and others here.
     
    Pelvis Ressley likes this.
  2. Steve Hoffman

    Steve Hoffman Mastering Engineer Your Host

    Company sold.
     
    yasujiro likes this.
  3. Wow, that sounds like it’s echoing through a garbage can! :p
     
    Rick Bartlett likes this.
  4. yasujiro

    yasujiro Forum Resident

    Location:
    tokyo
    On this video from 1957, you can see the word ‘stereophonic’ was commonly associated with echo.

     
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  5. rkt88

    rkt88 The unknown soldier

    Location:
    malibu ca
    capitol/columbia/gold star classic. when in doubt? emt plate
     
  6. yasujiro

    yasujiro Forum Resident

    Location:
    tokyo
  7. DRM

    DRM Forum Resident

    There’s nothing dry about music or sound. And recording is necessarily an unnatural undertaking. African call and response produced a cacophony of sound. Whether in the forest or in a small closed in structure like a church or basement. Or hut. Monks chanting centuries ago was not a dry sound. Dead sound requires environmental manipulation, is contrived, artificial, and man made. And isn’t really totally dry or totally dead.
     
  8. MikeM

    MikeM Senior Member

    Location:
    Youngstown, Ohio
    Who knew, but an entire book has been written on this subject.

    I found this in a library a few months ago and was interested enough that I ordered a copy for myself:

    [​IMG]

    https://www.amazon.com/Echo-Reverb-...&sprefix=echo+and+reverb,undefined,144&sr=8-2

    I'm only a little ways through it, so I don't know how much of it delves into the really technical issues as many have done here. But it's a pretty deep dive into the weeds, and includes chapters on achieving the goals of echo or reverb without resorting to electronic means.

    One chapter I have read makes the case that Robert Johnson didn't face into the corner of the wall in that hotel room where he recorded those sides out of shyness or lack of confidence, but rather because he felt his guitar and vocals would sound better with some of the reflections that made possible. That's a simplified version of what the author wrote; he goes into a LOT more detail about it.

    Anyway, may possibly be of interest to some here.
     
    beccabear67, GerryO and Steve Hoffman like this.

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