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Classical recording - reverberant spaces
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Your average music school practice hall has a typical hall which can be very lively and reverberant.
Whereas some practice halls are acoustically designed and treated - leaving a natural sounding reverb.
With such location recording what mic or processing techniques may be employed to cope with rooms with too much reverb?
Moving the mikes closer?
Moving the musicians around?
Ive done both of these...but is this a way to control the problem?
Im curious because the May 2006 issue of the mag shows what I would consider to be an untreated hall. Yet the recordings have a little less reverb on them then I would expect.
Any thoughts?
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