great idea that to obtain reverb from a natural enviroment i suppose the larger the room, a higher power play back system would be needed ! - i wanted to do that years ago when me an my mate went in this long tunnel sureal sound !!- you cant get effects like that via digital yet ! ..maybe??hehe = - the oposite to this is a anechoic chamber that has no reflections !!! so you can record your dry signal in this then playback via a system in a reverb chamber then mix the two together ! of course the speaker dosnet have to be stationary - walk about the room with it whilst recording in stereo - hang a speaker off a rope (whilst connected-hehe) and swing it about madly whilst reording with mics placed all about the place - maybe one spring loaded on your dog! - record as you throw your speaker off a bridge as a train collides into your mix for a 'train'sient finale!! The first commercially available effects, tremolo and vibrato, appeared in the late 1940s. The confusion regarding the difference between tremolo (which modulates volume) and vibrato (which modulates pitch) persists to this day, as evidenced by the use of both terms to refer to a guitar's whammy bar. The engineering behind many of these early effects was quite imaginative. For example, DeArmond's tremolo used a motor-driven wheel to rock a small tube of mercury that opened and closed a circuit, thus modulating the volume. Leo Fender's tremolo circuit, which he called "vibrato," used a low-frequency oscillator to pulse a light source directed at a photoresistor. Fender also produced a combination vibrato and reverb unit called the Dimension IV, which used the questionable technology of an electric motor rotating an oil-filled can in front of a light source. Stand-alone echo and reverb units were next on the scene. Les Paul created echo effects using modified tape recorders in the '40s, but dedicated tape echoes-with names such as Eccofonic, Echolette, Echoplex, and Copicat-didn't appear until the '50s. The Binson Echorec had one of the more exotic designs, using a magnetic disk rather than magnetic tape. However, it was engineer Ray Butts who developed one of the first commercially available tape-echo units, for use in his EchoSonic amplifiers-a combination that helped define the early guitar sounds of Chet Atkins, Scotty Moore, Roy Orbison, Carl Perkins, and Luther Perkins. Mechanical reverb units were the result of attempts to emulate the sound of echo chambers. Rather than using a room for reverberation, manufacturers attached transducers to large metal plates or tightly coiled springs. The Hammond Organ Company developed one of the first spring reverbs and licensed it to Fender, who issued the GA-15 Reverb unit in 1961. theres morehere if you want it !!! http://emusician.com/ar/emusic_reexamining_vintage_analog/ john