Your Room Is Your Reverb And Offset

[⚖musicalmemoriesuk]

Yes I’ve been a bit quiet, but after some time performing experiments im now of the opinion that the room your have your arranger is actually the reverb. This is pretty important when applying it. 
As we know every room reacts differently to sound. Im now actually using sound completely dry.

The reason being if playing different sized rooms the only reverb applied to the sound it the actual natural reverb of the room it self. So the only reason to actually apply reverb is if you’re trying to emulate a particular soundscape.

No moving to sound editing. When using the quick edit function we’re merely offsetting what’s actually already there. The sound that was created by the initial sound designer.

But in the case of KORG we thing by adding attack to a sound we’re giving a sound a faster attack but in actual fact we’re doing the opposite adding attack lengthens the attack. So if we want to make a sound more snappy we actually reduce the attack. In the case of the KORG there is no sustain parameter so we have to compensate this by using the decay function.

It may be wrong, but I actually mix the sounds all at the same level of 100, no effects or panning.

Any changes made are done so solely by the use of the sounds envelope, cut off and resonance. 

So it’s actually the raw sound and external effects. 

Anyhow just an update.

[♔Chello]

Yes I’ve been a bit quiet, but after some time performing experiments im now of the opinion that the room your have your arranger is actually the reverb. This is pretty important when applying it. 
As we know every room reacts differently to sound. Im now actually using sound completely dry.

The reason being if playing different sized rooms the only reverb applied to the sound it the actual natural reverb of the room it self. So the only reason to actually apply reverb is if you’re trying to emulate a particular soundscape.

A very good point, which is rarely discussed.
A recording studio is very well damped (too well..?), while a typical living room for a performer is too poorly damped.

The fact that you experience that the best sound is achieved with completely dry sound may indicate that your room is too poorly damped.

I have spent a lot of time removing resonances in the entire frequency range - without using special damping mats and absorbers.

So my studio is without troublesome resonances, but is just enough "live" that a certain amount of ambience and reverb can be allowed without the sound image running wild.

Therefore, my setup with ambience and reverb will work reasonably well in most "normal" rooms, and typically give a "live" image that most people appreciate.

[⚖musicalmemoriesuk]

It kind of shows how when you get an arranger the environment the sounds styles etc are not mixed correctly. Because everything’s mixed to the environment of the studio that the sound designers were created in not to the environment your playing in

[♔Chello]

It kind of shows how when you get an arranger the environment the sounds styles etc are not mixed correctly. Because everything’s mixed to the environment of the studio that the sound designers were created in not to the environment your playing in

Absolutely.
I would say that this is the Achilles heel of the professionals - to have absolute control over resonances, they dampen the sound studio 100%, while the room they are used in later is often too poorly damped.

I am convinced that the ideal studio should be controlled damped, with a certain acoustics, but completely without standing waves and no reflective surfaces or too large absorbers.

To illustrate:
Nothing is worse for a musician than playing in a sound studio where all acoustics are dead - I have done it.

Conversely:
Everyone who has listened to music in my studio has commented that "it's just like hearing it live" - but without annoying resonances, and they can "see" each individual musician on the "stage".