So, theoretically speaking......

[Daisy]

In a lot of situations, I actually do think that recording outdoors could be beneficial, and a much more attractive alternative to tracking in a small, enclosed space with no treatment, etc.

In the same sense that SS's plastic cask would usually be preferable to a mouldy barrell, one would assume.

 

[SouthSIDE Glen]

In the same sense that SS's plastic cask would usually be preferable to a mouldy barrell, one would assume.

Haha, good point.

Yeah, you're right that no room at all can be better than a prison cell of a tracking room, in a lesser of two evils way. But either way you wind up with a nice $0.99 box of wine . It's a far cry from a halfway-decent tracking room giving you a halfway decent bottle of Woodbridge.

Recording outside or in an anechoic chamber does have the advantage of giving you a blank slate to work with, reflections-wise. It's a good chance to make the best out of one's Lexicon impulses. It's kinda like a totally dead vocal booth in that regard. But just like a dead booth, it will only sound as good as your gear.

But a big difference between a dead vocal booth and outdoors/anechoic chamber is in the bass response. Open air has a tendency to just suck the bass away in ways we're not used to indoors. Ever notice when gigging outdoors that you can hear the bass thumping inside your car driving from the gig a mile away, but there never seems to be enough of it on-stage? Or how a lightening strike a mile away has much more bass to the thunder than one that strikes the telephone pole 300 feet away? By the time the bass stretches out and develops, it's too far from the source to much matter.

G.