It’s all about the feeling and the ambiance created by the vocal melody and reverb. For this approach to production, understanding what the lyrics say isn’t the focus. Reverb and vocals work well together, especially in the ethereal dream-pop side of things.There’s no better way to add a dramatic, angelic effect to a vocal track.Ĭanadian producer, songwriter and vocalist Grimes has undoubtedly popularized this style of vocals in experimental pop of the 2010s. This gives the impression that all the instruments are spinning around Robert Plant’s vocals which remain in the middle. Listen to the end of the song for the famous ‘swirly’ effect achieved with a reversed harmonica, a backwards echo, phasing, flanging and panning. This gave it its distinctive natural sounding ‘big room’ reverb and muffled sound that makes it standout from other drum recordings. Two Beyerdynamic M160 microphones were placed at the top of the stairwell for the recording. It was famously recorded on a brand new Ludwig kit in the hallway of a three story staircase at Headley Grange. The drum performance is central to the track. This Led Zeppelin song masterfully uses multiple effects. Listen to the different kinds of spaces he creates with various reverbs, especially the uniquely spacey reverb on the backup vocal line: ‘I Hear a New World.’ 3. One of Meek’s most famous techniques was using different reverberant spaces in his studio and house for recording instruments with natural room sound-like under his staircase or in his bathroom. In his cult classic album I Hear a New World from 1960, Meek uses various types of effects including pitch shifting, panning and natural reverbs. Joe Meek is a notable British sound engineer, record producer and songwriter active in the 50s and 60s. His experiments with effects like overdubbing and sampling are also foundational to space age pop and psychedelic outsider music. This would soon be known as remixing.Ī perfect example of Tubby’s deft touch for reverb is present on the track “Dub You Can Feel.” Listen for the reverb on the snare - it’s the classic spring reverb “boing” effect common in dub music. He’d accentuate this or that instrument, add some delays, echoes and reverb-a major innovation at the time. When producing a ‘version’ without the vocal track, Tubby would take a lot of creative liberty. Reverb is one of Tubby’s signature secret weapons-and what makes dub sound so special. Jamaican 45s often press the main track on one side, and an instrumental “version” on the other. He’s well known for his innovative technical work and for essentially inventing the concept of the remix. His production and sound engineering work was pivotal to the development of dub and reggae in the 60s and 70s. King Tubby was a key figure in the Jamaican soundsystem culture of the 50s. So to celebrate the tracks that refuse to take reverb lightly, here are 8 tracks of different genres that use reverb in masterful and original ways. Unlimited mastering & distribution, 1200 royalty-free samples, 30+ plugins and more! Get everything LANDR has to offer with LANDR Studio.
0 Comments
Leave a Reply. |