Studios were prized for their natural ambience. In the early days of recording, the only reverb on a record was that of the room the recording took place in. One of the first documented uses of natural reverb to intentionally enhance a recording was by engineer Robert Fine, who introduced ambient mics on some of the early вЂњLiving PresenceвЂќ recordings on Mercury Records. Improvements in microphone technology and the advent of audio tape made it possible for recording engineers of the day to experiment with mic placement, increasing consciousness about reverb, if not necessarily options. In the post-WWII Big Band-era of the late вЂ™40s and early вЂ™50s, radio began to play an increasingly important role in how audiences consumed recorded music.

This worked fine for the recordings of the day, which were mainly of the orchestral and operatic genres. The sound of the room itself was picked up by the microphone (and in most cases it was just that вЂ“ one microphone), and rooms with great sonic characteristics, mainly theaters, symphony halls and the like. In the earliest recordings, the only reverb was what occurred naturally in the recording environment. Starlight Echo Station Starlight Echo StationДЄstra Modulation Machine Astra Modulation MachineД¤-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics 4-710d Four-Channel Tone-Blending Mic Preamp w/ DynamicsДЄbout Find a Dealer Downloads Blog Support Log In Thunderbolt 2 Option Card Thunderbolt 2 Option Card

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