[Edit - The Beatles have been mentioned several times in the comments on my "LCR Mixing Sucks" post, and I was reminded of this post from way back - if you haven't already watched the video, I strongly recommend it !]
I’ve already labelledGeorge Martin as a “god-like-genius” amongst producers – although, after watching Elizabeth Gilbert’s inspiring TED talk on nurturing creativity, perhaps I should use different terminology…
Either way, his work with the Beatles means that over 30 years later he is still regarded by many as the ultimaterecord producer. A musician, engineer and inspirational collaborator, without whom the Beatles’ music would have been unrecognisable, and – in my opinion – nowhere near as fascinating, important or influential.
Reverberation is a subtle but crucial part of any mix. The wrong choice can make everything sound harsh, messy, muddy or distant. The right choice can bind a mix together, add depth, space, and air, and enhance detail. The trick is knowing the difference.
Once upon a time, things were simple. You either had an SPX-90 or a Lexicon, and you got on with the job. Now, the range of choice is bewildering. In the 21st century there are hardware and plugin reverbs, modelling reverbs, sampling reverbs, convolution reverbs, emulating reverbs… the list goes on.
This post will completely ignore all that confusion, and attempt to cut right to the chase. Later I’ll offer some ideas, hints and tips for getting the best results with reverb, but first we’ll look at:
Welcome back my friends, to the show that never ends, We’re so glad you could attend, come inside, come inside…
I know, it’s been ages.
And, the way things are looking at the moment, it’s going to stay slow for a while longer yet…
So, stay tuned to the RSS feed for future updates, including a brief summary of all the goings-on of Dynamic Range Day – but in the meantime – enjoy this video about the recording and mixing of Queen’s ‘Bohemian Rhapsody’.
I was going to say “please enjoy this video”, but honestly, if there isn’t something to delight or amuse you in here, you’re reading the wrong blog.
If this video doesn’t make you want to own your own analogue synthesiser, nothing will !
David Vorhaus will forever be part of my own musical history for creating the album “An Electric Storm” as part of legendary band The White Noise – along with Delia Derbyshire, of “Doctor Who Theme” fame. This mad, tuneful collage of tape loops, analogue synths and sound effects was released in 1969, and provides proof, if you needed it, that the Beatles weren’t nearly as cutting edge as they thought they were.
“Ellipse” by Imogen Heap is released on 24th August – if you’re like me you can’t wait.
Well, you don’t have to – here is the full album, streaming on Soundcloud ! (At the bottom of this post.) And, you can pre-order the CD here.
Why have I posted this ? Firstly because it’s a superb album, secondly because Imogen is an outstanding musician, for whom production is clearly inseparable from the writing process itself. In fact, she’s a perfect example of “21st century DIY punk“. And, she is certainly making the utmost of the possibilities of social media and Web 2.0 for musicians. (More about that in my post Why Musicians Should Be On Twitter)
But if you still need more persuading, check out her v-blog channel on YouTube – 40 or so video diary entries about the entire writing, recording, mixing and production process of Ellipse. (Anyone who plays music on the lighting panels in her studio’s ceiling is cool by me!).
"Everything you have advised us on has been invaluable... We learnt a hell of a lot from those two emails. We will absolutely be in touch regarding future mixes"
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