In this video Christian takes us through three less than commonly used techniques for reverb to show how it can be much much more than just to add a bit of splosh.
1. Harry’s Trick Which Allows You To Get Away With A Stray 7/8 Measure
This old classic is from the 70’s, when producers would record a single hit from a piano, turn the reels over and - hey presto - cause a sharp ‘rise’ into a bar or phrase. It’s used frequently by Harry Gregson-Williams on his portfolio of scores for Tony Scott as a good way of smoothing a pesky re-cut that has resulted in a musical 7/8 jump cut. Use a single piano hit with loads of nice long verb, bounce this back into the same project then reverse the file. Use the right hand edge of the region to butt up against the cut you want to hit. Also great with flanger and a bit of sub bass.
2. Coolificate Posh Samples
Are your samples sounding a bit posh - not edgy, vibey or cool enough? Christian shows how you can take the most parochial of samples, a solo pizzicato section at the Hall at Air, and by using a virtual speaker cab and a spring reverb give it a cool ‘vintage sample’ sound.
3. Instant Eno Glitch
By employing the piano and reverb trick used in 1, and with a bit of gratuitous time stretching, you can quickly build your own glitchy Brian Eno style pads. Even with massive reverb decays you will get a sense of a slope which are hard to loop. Christian shows how he copies the stretched reverb bounce, reverses it, then - with a huge crossfade - blends the two to provide an undulating and loopable sample that makes for an ultra-cool pad.