HouseWithoutMouse wrote:When you use samples from records, they usually have some reverb baked in, and most likely a different reverb or at least different settings were used on each record. So putting such samples together is incoherent?
It's not to say that a nice reverb wouldn't be nice.
HouseWithoutMouse wrote:Do you mean, 8 different samples taken from 8 different records, sounding at the same time on top of each other? Do you do that kind of thing regularly?
EnochLight wrote:
No one is asking for the standalone MPC to host 30 instances of Serum VST or iZotope Ozone 37 Super Awesome Edition. Improved effects is very much in the realm of a realistic ask.
Straker wrote:EnochLight wrote:
99.9
Straker wrote:40Beatz wrote:I use Reverb Sparingly. Only if a Dry sound needs a lil bit of space. Like I said before...There is More than One way to Skin a Cat. "Better Sound" is Subjective to everyone's Ears
Yep. But notice that the 99.9% of the music you listen have a reverb on the s/r of a mixer.
And the 0% of this 99.9% has an Air Reverb of Mpc.
40Beatz wrote:Please Show Us That Data Source
EnochLight wrote:I mean, to be fair - with the sort of "studio rules" that seem to be thrown around here, albums like My Bloody Valentine's Loveless would never have seen the light of day. I'm glad for rule breakers and people who think outside of the box. #longlive shoegaze #neverenoughreverb
Straker wrote:Nice, it's one of my favourite albums of all time. Pure art.
Straker wrote:Do you know how many recording studios Kevin Shields travelled in UK and USA to mix that album as he wanted to?
Thank heavens for Alan Moulder and Anjali Dutt - I doubt Keven Shields would have ever finished the album had it not been for them.Straker wrote:And yes, a lot of reverb on that album.
Even if Reverb is subtle, short, almost unnoticeable, it's in every record of music we listen to.
Voices have reverb, guitars, keys, hats and ride of drums, sometimes snare, flutes, strings.
Reverbs give back the frequencies you lose with mics, glues the mix, gives space.
EnochLight wrote:Straker wrote:Nice, it's one of my favourite albums of all time. Pure art.
Agreed!Straker wrote:Do you know how many recording studios Kevin Shields travelled in UK and USA to mix that album as he wanted to?
19, according to the link I posted.Straker wrote:And yes, a lot of reverb on that album.
Even if Reverb is subtle, short, almost unnoticeable, it's in every record of music we listen to.
Voices have reverb, guitars, keys, hats and ride of drums, sometimes snare, flutes, strings.
Reverbs give back the frequencies you lose with mics, glues the mix, gives space.
I mean don't get me wrong - I'm 100% on board that in most "traditional" productions, reverb on S&R is absolutely the way to go. Just don't count out the creative ways that it can be used as an insert as well. Soooo many possibilities. I know the existing MPC/Force hardware could handle a more complex reverb - quite easily in fact. Whether we'll eventually see one or not is anyone's guess, but I wouldn't count Air or Akai out just yet. I'm sure they have a lot of things planned for the life-cycle of the MPC over the next year(s).
Straker wrote:Just what I am saying is that Reverb is the most used effect on mixing and since MPC is going to be a standalone mixing box, maybe a better reverb would make sense for everyone.
Straker wrote:Talking about reverbs, what about Slowdive? Do you also like them? I absolutely love them.
They use tons of Reverb in every track, voice, guitars or whatever, they cannot live without reverbs, they are addicted, poor guys
