CONVOLUTION REVERB 一 This is considered the crown jewel in the digital world, as it’s not only capable of generating the most realistic reverb, but allows you to capture the essence of any room, or environment through sampling.If you use reverb plugins, the majority of them fall into this category. ALGORITHMIC REVERB 一 A class of reverb that relies on algorithms, modeled after real-world environments and processes.Every reverb you use is either: Algorithmic- or Convolution-based. The denser a reflection is, the closer you get to achieving a sound that reflects true reverb.Įach (common) reverb type is categorized by the space in which it simulates, or the methods used to achieve it. Īll reflections (echos) following that first bounce are called L ate Reflections, which constantly change and rapidly evolve over the course of their duration.Īs the sound continues to bounce off of each wall, surface, or object, it begins to pile up until the sound pressure dissipates no longer having the energy to reach the next surface. This changes the interactions between them over time, commonly referred to as ‘Crosstalk,’ which then turns into reverb. Once those early reflections bounce to the next surface, they quickly multiply. ECHOS 一 The result of any given sound bouncing off of one, or several walls for the very first time - known as Early Reflections.
They do not change over time and are not echos, just recreations of them. Most of the time, other than when you’re dealing with delay, the ‘repeats’ are just that: literal repetitions.
The majority of digital reverb used today is a form of Physical Modeling. It creates a unique echo that contains sonic information about that specific space. This is due to the sound being absorbed by the surrounding objects and surface. Reverb by definition is when a sound or signal hits any reflective surface and bounces back at varying times, phases, and amplitudes until its decay. TRICK #2: USING A CONVOLUTION REVERB AS A RESONATOR.TRICK #1: SIMULATING REVERB WITH A DELAY.Interestingly, RY X (who has gone on to produce tracks for no less than Drake) took a somewhat holistic approach to crafting this album, working not from the beats up but from a single, pure base of guitar. Multi-layered harmonies and occasional rich synthesizer washes are elevated by looped repetitive sequenced drum beats and percussion. There is a thread of lush acoustic guitar and multi-layered vocals - with periodic high falsetto parts - on Blood Moon.
Some of my favorite songwriter performers have done similar things with their recordings over the years prompting the listener to play the recording over and over to figure out the storyline, especially when lyric sheets are not immediately available (see Bob Dylan, Elvis Costello, etc.). This is not a bad thing but it is part of the album’s overall aesthetic. RY X’s words are sometimes mumbled in a sort of half spoken, half sung voice to the point where it is often difficult to follow the lyrics. Listening to RX Y’s Blood Moon also reminds me a bit of Sigur Rós but if they were fronted by Daniel Rossen of Grizzly Bear.
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