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Swae Lee & Post Malone - Sunflower mixing (Reverb used)
Old 12th April 2019
  #1
Here for the gear
 

Swae Lee & Post Malone - Sunflower mixing (Reverb used)

I’ve been listening to this record a lot lately and hearing it on multiple sound systems, the mixing sounds so great. The main thing that stands out to me is the reverb used. Does anybody have any idea on the verb used? It’s so lush & the tail is great. I looked up the song credits & saw Manny Marroquin mixed it. Do you guys think he used his own waves verb?
For anybody who hasn’t heard the song here is a link
YouTube
Old 12th April 2019
  #2
Here for the gear
Quote:
Originally Posted by sedric57 View Post
I’ve been listening to this record a lot lately and hearing it on multiple sound systems, the mixing sounds so great. The main thing that stands out to me is the reverb used. Does anybody have any idea on the verb used? It’s so lush & the tail is great. I looked up the song credits & saw Manny Marroquin mixed it. Do you guys think he used his own waves verb?
For anybody who hasn’t heard the song here is a link
YouTube
You can achieve this effect using even standard FL reverb, but the key is its proper setting and proper input signal.
Old 12th April 2019
  #3
Lives for gear
I do this all the time. There are a couple ways I do it. Often it's just a plate reverb and I add a delay plugin after it 100% wet just to create a predelay (you could do this within the reverb plugin most likely, but I never do it that way because I find it clunky and often I wind up wanting to do things to that delay). The other most common way is to set up the plate and delay on separate returns. Send to the delay and send ALL the delay to the plate. That gets you to the exact same spot. But then I will send just a touch of signal straight to the plate. This softens the sound before the plate kicks in. Like most things in record-making there are others ways to arrive at basically the same sound. This record also sounds like the reverb is also likely low passed. Which is something I also do a lot of.
Old 12th April 2019
  #4
Here for the gear
 

Quote:
Originally Posted by chris carter View Post
I do this all the time. There are a couple ways I do it. Often it's just a plate reverb and I add a delay plugin after it 100% wet just to create a predelay (you could do this within the reverb plugin most likely, but I never do it that way because I find it clunky and often I wind up wanting to do things to that delay). The other most common way is to set up the plate and delay on separate returns. Send to the delay and send ALL the delay to the plate. That gets you to the exact same spot. But then I will send just a touch of signal straight to the plate. This softens the sound before the plate kicks in. Like most things in record-making there are others ways to arrive at basically the same sound. This record also sounds like the reverb is also likely low passed. Which is something I also do a lot of.
Thanks for these different approaches, I will definitely try these methods! I attached a song I am currently working on and trying to achieve the sound. Any additional input would be much appreciated.
Attached Files

Waiting (Reference).mp3 (7.51 MB, 1684 views)

Old 12th April 2019
  #5
Here for the gear
Don't forget to sidechain the reverb to the original signal a little, as sometimes it may really get blurry and this reverbed echo can "mask" the original one, especially when its long and deep. You can also shift in time the reverbed echo and try to separate it in stereo field for more depth and wideness.
Old 12th April 2019
  #6
Gear Maniac
 

One thing you need to take notice of is, comparing sunflower to other mixes, it’s much quieter and has far more dynamic rage than its competitors. This creates way more space to fit such a big reverb like it has.

I know Jaycen Joshua who is known for creating that signature big reverb sound for Swae Lee mentioned on Pensados Place that the trick to getting a reverb like that is Pre Delay.

You want a big Pre Delay because not only does it make the reverb sound longer and bigger, but it doesn’t muddy up the vocals. You can honestly do this with any reverb, I would just surf around and find some you like.

But as far as I know, having a lot of dynamic range and a quieter (less in ur face) mix as well as a big pre delay will help with achieving this reverb sound. Also make sure you also low cut and high cut filter ur reverb to allow to take up even more of its own space and less of the vocals space.

But as far as I’m concerned, the one BIG thing about this reverb that separates itself from all the other reverbs in modern mixes, is just the fact that it’s wayyyy louder and takes up far more space in the mix. Really the only way to achieve that is to compromise the loudness of ur mix to make room for the reverb. And that’s honestly the simplest thing anyone can tell you but it’s the truth.
Old 16th April 2019
  #7
Here for the gear
 

Quote:
Originally Posted by Kodakell View Post
One thing you need to take notice of is, comparing sunflower to other mixes, it’s much quieter and has far more dynamic rage than its competitors. This creates way more space to fit such a big reverb like it has.

I know Jaycen Joshua who is known for creating that signature big reverb sound for Swae Lee mentioned on Pensados Place that the trick to getting a reverb like that is Pre Delay.

You want a big Pre Delay because not only does it make the reverb sound longer and bigger, but it doesn’t muddy up the vocals. You can honestly do this with any reverb, I would just surf around and find some you like.

But as far as I know, having a lot of dynamic range and a quieter (less in ur face) mix as well as a big pre delay will help with achieving this reverb sound. Also make sure you also low cut and high cut filter ur reverb to allow to take up even more of its own space and less of the vocals space.

But as far as I’m concerned, the one BIG thing about this reverb that separates itself from all the other reverbs in modern mixes, is just the fact that it’s wayyyy louder and takes up far more space in the mix. Really the only way to achieve that is to compromise the loudness of ur mix to make room for the reverb. And that’s honestly the simplest thing anyone can tell you but it’s the truth.
Thanks for the informative response! I’m watching all Jaycen’s Pensado visits. Soaking in knowledge. I always struggled with reverb but understanding this pre-delay more is a big help! Opening up pro Tools now
Old 14th May 2019
  #8
Lives for gear
Thanks for asking this question.

That songs is one of the few current songs out that makes me feel warm & fuzzy inside lol. Good to know how the reverb was likely achieved.
Old 3 weeks ago
  #9
Here for the gear
 

Don’t forget about the sidechaining. It sounds like when they are singing you don’t here the reverb as much as when they finish a sentence. There’s a lot of reverb sidechaining lately too. It’s an artistic touch that works wonderfully many times.
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