Or you can divert expectations by dropping out most of the instruments right before the chorus, creating the illusion that we’re about to hear an explosive chorus, only to find a mellow one instead. When done right, this is a technique that can lead to some unpredictably climactic aural experiences, but it’s less formulaic compared to the other methods, and therefore it takes practice to get it right.
As the story goes, in case you don’t know, Swift won “Best Female Video” with her song “You Belong to Me,” beating out Beyoncé’s “Single Ladies” video. Leave it only to West to interrupt her acceptance speech. “Yo, Taylor, I’m really happy for you, Imma let you finish, but Beyoncé has one of the best videos of all time. Of all time!” Leaving people like me to forever quote it out of context. Fast forward to 2017, and this incident has forever changed their relationship and careers. Check this out, courtesy of our friends at Genius:
The short tape loop in the RE-100 still meant that you could only affect the delay so much. The RE-201 remedied this by using a longer tape loop that was spooled freely within a chamber with no reels. This loose spool approach resulted in less tape wear and fewer transient noises.
But here’s what’s even more exciting: When you sign up for Modern Pop Vocal Production, you’ll get 1:1 coaching and feedback from one of three expert Soundfly Mentors: The course instructor herself, Sırma; South African producer, touring multi-instrumentalist, and composer, Sulene; or podcast composer, remixer, and touring multi-instrumentalist, Martin D. Fowler.