You can use these methods on background vocals, rhythm section tracks, and any tracks that you want to sound unified, yet at different distances away from the listener. The takeaway:
This blues track you may recall from other Tools for Mixing articles. We'll try the X-Games mix on it, using reverb and a little bit of level adjustment only to create a rough mix. As we said before, this is not a “best practice” for creating a rough mix. It is, however, a good way to learn what best practices are for using reverb and delay to create sonic space for each track in your mix. The track levels are consistent, and the panning is all right up the center. Let's give a listen.
Fortunately for you, there is Propellerhead Reason, so you don't have to build underground rooms or rewire reel-to-reel tape recorders. In fact, you don't need anything except your computer and Reason! No matter what hardware or software recording devices you work with, keep in mind the technology behind these historical developments, as well as our travelling trombonist, as we work with reverb applications in the next section.
In each of the other Tools for Mixing articles, we created rough mixes using just the single tool featured in the article. We did this purely to explore the power of each of the tools brings to your music, not to suggest that you create a final mix using only panning, or EQ. In fact, in creating the rough mixes, we applied the tools sometimes to extreme levels, which you normally wouldn't do when crafting a mix. Normally, you'd use all your tools in equal amounts to make each track stand out just the way you want.