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“First try ‘The reverse vocal haunt’. This involves a haunting reverb slowly rising out of the mix and then melding into the first syllables of a vocal line.
"Put the first two seconds of your vocal onto a new track and reverse the audio. Insert a reverb with a very long decay time – 10-20secs – with 100% reverb mix on your reverse vocal. Mix that down making sure you capture all the decay. Reverse the audio of the reverb mixdown then push that audio back so it overlaps the front of your original vocal. Now just play the reverse reverb and original vocal.”
“Next there’s ‘The room bass drop’. This is an amazing way to twist your bassline, it works particularly well with nasty electronic basses as a one-bar or half-bar drop at the end of eight or 16 bars. If your bass is MIDI, you will need to make an audio mixdown of it. Take a half or single bar chunk of bass from the end of an eight- or 16-bar pattern and drop it onto a new track. Now insert a room reverb on the new bass track, set the predelay at zero and the reverb time about 0.3secs. Now the bass should sound twisted and in your face. Drop the drums out at the point of the bass drop or even better, mix down the drums and give them a high-pass filter at 350Hz and a bitcrusher. Now you should have an insane bass drop that sounds like your speaker cones are about to blow.
“Finally there’s ‘The percussion/ bass/synth reverse reverb riser’. This is a reverb effect that has become a classic production technique in modern House music.
“Mix down a good 16 or 32 bars of your sound onto a new audio track. Now insert a wide hall reverb with a 100% mix and six seconds of reverb time. Mix this down onto a separatetrack but leave a bit of space after for the reverb to die away. Now put a fade-in going right up to the end. Play this with your original pattern. To make it stand out even more, automate the reverb decay time from 0.3 seconds at the start to around 10 seconds at the end.”