Reverbs come in many shapes and sizes, but a good rule of thumb is to use shorter reverbs like rooms and plates for more upbeat songs, and longer reverbs like halls for slower ballads. Most reverbs and delays can be synced to the tempo of the track, allowing you to dial in just the right amount of decay. Try setting the decay time so the effect fades away just before the next phrase begins. But don’t get too comfortable with that one, here’s perhaps the most well-known melody of the bunch: the first two unique notes of Beethoven’s 5th Symphony. The most classic-est of classic major thirds.
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“Artists of the early 1700s did not wear their lives on their sleeves… Their goal was not to expose the hidden and the personal but to replicate the empirical and the universal; their domain was not the unconscious but the observable world.” For example, a kick-driven house track needs to be shaped much differently than a lo-fi song with drum parts you want tucked somewhere in the background. Experiment with different EQs and compressors and resist the urge to lean too heavily on preset options. Purposefully muddling certain instruments in your kit while keeping others sharp and focused can also create an interesting contrast to build on.