A Quote by Finneas

A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out. — © Finneas
A lot of the time, in pop music especially, there's reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.
If I didn't have the reverb I'd be an unhappy camper. So I want reverb in my monitor mix. Reverb and a good level in my monitor and I'm all set.
I naturally like that dreamy, shoegazey sound on my vocals. A lot of reverb helps, and so do a lot of delay effects on everything.
It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings.
I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.
Surf is that music which is entirely about evoking something. There's never any vocals, so it's not about the lyrics, it's about the reverb.
Well, things hold up even if they sound dated. It can be very difficult to listen to 80s pop songs with really, really gigantic smashed drum sounds. You just want to turn that gated reverb down on the snare. It sounds wrong now. It sounds amateurish. And ugly. But at the time it sounded state-of-the-art. So yeah, I think it's important not to sound state-of-the-art in a way that anybody else is going to sound. Or you'll quickly sound like yesterday's state-of-the-art.
I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.
A lot of the gear came out of some of the old studios here in New York City. We picked up a lot of old microphones, reverb tanks, tape machines, so yeah, we try to record the old way, which takes more time and energy, but it certainly feels better when you're getting to the end of the process of making a record.
When Derek Miller and I started working together, we had a very clear vision for the sound of the band. It was one which combined our favorite musical elements: driving guitars, bombastic beats, and female vocals. We've always been interested in making music that is essentially pop but that steps outside of the traditional formula into a stranger, more abrasive world. We love that our music makes people dance with complete abandon and feel empowered. It's very uninhibited music, and that's what makes it so fun.
I would say that the evocative qualities of music are usually put there in post-production in the reverb. It's really not much about the musicians as the engineering. It's post-production that's being done by the musician at the time.
Reverb does that thing where you make one sound and it grows to 20 times its original size and fills everything up.
For all its reverb and defiant noise, the sound of Black Tambourine barely reached past the borders of Washington, D.C., in the early '90s.
My guitar sound pretty much came from discovering there was reverb on my little practice amp and really loving the mood it created.
There's not a lot of pop music in the mainstream that makes you feel scared, that makes you wonder what's happening.
I think we all think we sound really good in the shower, where there's that nice reverb, and the water's drowning you out, and there is some liberation in the freedom of being totally alone and really going for it.
I think we all think we sound really good in the shower, where there's that nice reverb.
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