Radiohead - House Of Cards - vocal, especially at 3’07”Įlvin Bishop - Fooled Around And Fell In Love - snare, most obvious in first 30 seconds The Doobie Brothers - It Keeps You Runnin’ - snare drum throughout but especially 3’24” to endĪir - Photograph - wood block, most obvious in the first 7 seconds Led Zeppelin - Bring It On Home - harmonica and vocal between 0’03” and 1’43” Led Zeppelin - Whole Lotta Love - most obvious on guitar between 0’00” and 0’11” and drums between 1’18” and 3’19” Led Zeppelin - How Many More Times - vocal, most obvious between 5’30” and between 6’07” and 6’47” and 7’06” Led Zeppelin - Babe I’m Gonna Leave You - acoustic guitar at 0’00”, vocal at 0’14” Led Zeppelin - Stairway To Heaven - guitar at 0’00”, vocal at 0’52”
Led Zeppelin - Black Dog - vocals throughout, most obvious at 0’06”, drum fill 1’37” to 1’39” Led Zeppelin - The Battle Of Evermore - vocal at 4’29” Before trying this yourself, it’s ideal to hear some obvious uses in existing recordings, so I’ve made a playlist of some of my favorite examples (headphones on): Īnd here’s what you’re listening for in those songs:ĭavid Bowie - Five Years - vocal at 0’22”, 0’32”, 0’43”, 0’52”, etc. Pioneered to imitate the lag between the initial sound and the subsequent acoustic reflections in real-world environments, this pre-delay temporally separates the initial (dry) sound from its (wet) reverb returns, and can improve clarity, even when a lot of reverb is used. Sometimes for extra ear candy, that pre-delay is synced to the tempo of the song. I’ve been teaching music production in Hollywood and when the subject inevitably turns to reverb, I make sure to touch on one of my favorite techniques: reverb returns with a prominent pre-delay.
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