bruce Posted October 12, 2011 Share Posted October 12, 2011 Listening to the radio tonight on way home from work, my travelling companion commented that "the esses on that song sound very hissy". After he pointed it out, it really started to annoy us! Song was George Michael singing "Brother can you spare a dime". Same effect on "Kissing a fool" Sounded a bit like the opposite of a de-esser - all the sibilance was enhanced and reverbed. Not sure if this was the actual recording, but you can hear the effect. http://www.youtube.com/watch?v=zV3vsxhgauU Link to comment Share on other sites More sharing options...
mackerr Posted October 13, 2011 Share Posted October 13, 2011 It just sounds like verb, with a high pass on the input to give h=the high frequency reverb effect. Oddly, I sort of worked the concert in the clip at 0:25. It was a multi site event, I was at Giants Stadium in New Jersey, George Michael was at Wembly. Mac Link to comment Share on other sites More sharing options...
laolu Posted October 13, 2011 Share Posted October 13, 2011 ... or go to "Somebody To Love" on the Freddy Mercury dedicated "Five Live" Mini-Album: the same effect. It seems to me this is something of a G.M. signature, they do it on purpose, that's what he wants (or his producer wants him) to sound like. BTW, I think this is a plate rather than a reverb, but I may be confusing the two. Norbert Link to comment Share on other sites More sharing options...
paulears Posted October 13, 2011 Share Posted October 13, 2011 ...... with pedantic head on, a plate IS a reverb, just a favourite, familiar one with a particular flavour. Link to comment Share on other sites More sharing options...
Doug Siddons Posted October 13, 2011 Share Posted October 13, 2011 ...... with pedantic head on, a plate IS a reverb, just a favourite, familiar one with a particular flavour. Found this http://bandfilter.blogspot.com/2011/01/emt-plate-reverb.html Link to comment Share on other sites More sharing options...
jamesperrett Posted October 13, 2011 Share Posted October 13, 2011 They were probably made around the time that full bandwidth digital reverbs first appeared. Up until then, you simply couldn't get that sort of sound out of any artificial reverb (and probably very few real reverb chambers) so full bandwidth reverb was a bit of a novelty. James. Link to comment Share on other sites More sharing options...
paulears Posted October 13, 2011 Share Posted October 13, 2011 And the studios always hid them in out of the way places, often inside wooden housings so you couldn't disturb them. They were so simple in design (transducer on one end of a sheet of metal, dangling on isolation 'elastics' or springs - and another, or two - on the far side. I made one out of a sheet of thin steel, bolted a 4" loudspeaker to one end and and a piezo mic element to the other and it worked - (and sounded absolutely horrible). At that time, the only practical alternative were proper tiled rooms, with speaker and mic)or echo via WEM copycat, Roland Space-echo, or tape head delay. Other than that, spring reverbs were many - and the rather nice Great British Spring Reverb - sold in a length of grey plastic plumbing pipe! Link to comment Share on other sites More sharing options...
dbuckley Posted October 13, 2011 Share Posted October 13, 2011 full bandwidth reverb was a bit of a novelty.One that is unfortunately yet to wear off, particularly with live sound engineers who use such tools and then bring the returns back without EQ to ensure the whole wooly reverb effect is there to cloud the mix. and the rather nice Great British Spring ReverbYou've got your rose tinted spectacles on again. Ok, it was the least bad spring reverb in the known universe, but it sounded, well, like a slightly less bad model of an awful spring reverb. But in context, there really was little alternative, it was awful reverb, or even worse reverb. Was in a covers band years ago, and for the big explosion in Rush's "The Temples of Syrinx" we dropped and then kicked an el-cheapo spring reverb around the stage. Yes, thats what spring reverbs are good for. Kicking the ###### out of. Hmmm... (used without permission) The BR anti-profanity gumbulizer thinks that shit is a six letter word... Link to comment Share on other sites More sharing options...
Doug Siddons Posted October 14, 2011 Share Posted October 14, 2011 . Was in a covers band years ago, and for the big explosion in Rush's "The Temples of Syrinx" we dropped and then kicked an el-cheapo spring reverb around the stage. Yes, thats what spring reverbs are good for. Kicking the ###### out of. When I bought my first guitar amp, I took it back to the shop when I discovered the "kick spring reverb effect" I thought the amp was broken! Link to comment Share on other sites More sharing options...
paulears Posted October 14, 2011 Share Posted October 14, 2011 I've been having a search around, and have discovered that this particular George Michael effect is quite a talking point. I found one comment that asserted he records a special vocal track containing the extra huhhhs, shhhss and sisssses - if you can understand what I mean, and these are treated to emphasise them. Of course, all these comments seem to reply on friends of friends who worked in the studio and equally dodgy data. Interesting, though. Link to comment Share on other sites More sharing options...
TimmyP1955 Posted October 16, 2011 Share Posted October 16, 2011 It seems that most reverb presets are tweaked such that what comes out is brighter than what went in - and mixpersons use them that way. This drives me nuts. That was the beauty of the real plates - one could not screw the sound up too badly by tweaking. Listen to DSotM or the first Sabbath album, then think about how lacking they'd be with some of today's spitty reverbs. Link to comment Share on other sites More sharing options...
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