Reverberation plays a very important role in modern music production. The available literature is minimal concerning the interaction between reverberation preference and the listening environment used during critical balancing tasks. Highly trained subjects are tasked with adding reverberation to a fixed stereo mix in two different environments: a standard studio control room and a highly reflective mix room. Distributions of level preference are shown to be narrower for more reflective mixing environments, and the mean level is below those set in a less reverberant environment.
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