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So you’ve learned the in’s and out’s of parallel compression and you’re ready to take it to the next level? Or maybe you’re just getting started with parallel processing and you’d like to see what could be done when pushed to the max.
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There are only so many things people can get completely wrong about recording and mixing music, but I don’t think we’re seeing the end of that list any time soon.
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We talk so much about fixing dense mixes filled with walls of guitars, stacks of vocals, and thick, punchy drums that it’s easy to forget the opposite end of the spectrum sometimes.
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Unless you’ve gotten the chance to check out an anechoic chamber in person – everything you’ve ever heard has had some type of reverb or delay to it.
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While there’s always going to be an appeal to a well-tracked clean & intelligible vocal, sometimes you need to step outside of the box a bit. Vocal performance styles vary greatly between different singers, but there are certain techniques that are universal in creating lush soundscapes; none more relevant to production than the reverse delay swell.
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