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  1. Beth

    Interesting article! Perhaps you should also do one on it’s cousin—delay. One might even argue that some of the examples you cite are also good examples of innovative delay as well.

    One addition to the Phil Collins entry: He was as innovative in the 80s with delay/reverb on his vocals as he was with the drums (though some would give the credit for the gated reverb to producer Hugh Padgham when Collins guested on drums the previous year on a Peter Gabriel album). If you listen to both his solo albums and his work with Genesis in the 80s, he would use different extreme combinations to suggest different atmospheres and song sections (i.e.: on the chorus). Some great examples of this are: “Do You Know, Do You Care”, “Don’t Lose My Number”, and “We Said Hello, Goodbye (Don’t Look Back)” from his solo albums, and “Mama” and “One More Night” from his Genesis albums.

    Another song I’d add to this list would be Simon & Garfunkel’s “Bridge Over Troubled Water”. It has lush reverb from beginning to end. The big drums towards the end were recorded in a similar method to “When The Levee Breaks”, with the drums in front of an elevator shaft.

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