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Thread started 06/27/17 6:28pm

bluegangsta

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We Can Fuck - The vocal reverb

One of the most interesting thing about We Can Fuck is the reverb.

To me, this is what it sounds like;
- Vocal track reversed.
- Reverb applied and printed on a seperate track.
- Gating applied.
- Played back at slightly varying speeds.

This is what I'm hearing - but this seems like a lot of work for a Prince track, especially in the days of analogue.

What do you guys think?

Always cry 4 love, never cry 4 pain.
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Reply #1 posted 06/27/17 6:36pm

feeluupp

bluegangsta said:

One of the most interesting thing about We Can Fuck is the reverb.

To me, this is what it sounds like;
- Vocal track reversed.
- Reverb applied and printed on a seperate track.
- Gating applied.
- Played back at slightly varying speeds.

This is what I'm hearing - but this seems like a lot of work for a Prince track, especially in the days of analogue.

What do you guys think?

Swore I heard a tiny part of the reverb used on We Can Fuck in the bedroom scene with Prince and Appolonia...

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Reply #2 posted 06/27/17 7:38pm

tollyc

feeluupp said:



bluegangsta said:


One of the most interesting thing about We Can Fuck is the reverb.

To me, this is what it sounds like;
- Vocal track reversed.
- Reverb applied and printed on a seperate track.
- Gating applied.
- Played back at slightly varying speeds.

This is what I'm hearing - but this seems like a lot of work for a Prince track, especially in the days of analogue.

What do you guys think?





Swore I heard a tiny part of the reverb used on We Can Fuck in the bedroom scene with Prince and Appolonia...




Yep. I heard it too.
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Reply #3 posted 06/27/17 9:39pm

cb70

bluegangsta said:

One of the most interesting thing about We Can Fuck is the reverb.

To me, this is what it sounds like;
- Vocal track reversed.
- Reverb applied and printed on a seperate track.
- Gating applied.
- Played back at slightly varying speeds.

This is what I'm hearing - but this seems like a lot of work for a Prince track, especially in the days of analogue.

What do you guys think?

Sounds exactly like that. I call it preverb. Something Pink Floyd was adding to their drums on "Echoes" back in '71. Great effect that adds that eerie quality to it.

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Reply #4 posted 06/27/17 9:57pm

bluegangsta

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cb70 said:

Sounds exactly like that. I call it preverb. Something Pink Floyd was adding to their drums on "Echoes" back in '71. Great effect that adds that eerie quality to it.

Pink Floyd always used it at it's best. My favourite use is Shine On You Crazy Diamond.

Prince also used it in the begining of Purple Rain.

Always cry 4 love, never cry 4 pain.
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Reply #5 posted 06/27/17 9:58pm

imprimis

This reverb is present, as well, in most versions of the song stemming from the 1983 recording, but lowered (significantly) or muddled in the mix, and not for the full duration of the vocal.

.

There is also at least one mix of the Dream Factory-era (17 June 1986 Washington Ave. Warehouse) recording that incorporates the vocal reverb, recreating some of the finer production points of its studio predecessor.

.

[Edited 6/27/17 22:07pm]

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Reply #6 posted 06/28/17 8:09am

TheFreakerFant
astic

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It's such a cool but spooky effect, sounds a bit like recordings of spirit voices from beyond, in those days must have been quite complex to create - loved the fact he was so experimental then!

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Reply #7 posted 06/28/17 9:54am

bonatoc

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My guess:

1 - Put the recording on reverse
2 - Add the FX, record, record also the 100% dry track, and another with 100% wet.
3 - Put back the tape as God intended
4 - See if you cannot add some other FX to the new 3 reverse-sounding tracks you got.
5 - During mixdown, subtly tweak the faders, so your FX doesn't ever quite sound the same.

Now yeah, these gate compressor settings are tricky. Must be a huge non-standard setting on either the attack or the release, and maybe it was gated on the reversed signal, or the gating recorded in reverse, that's whay it sound so odd. A long compression tail in reverse, put it back, and you have a long growing volume effect. With a carefully timed pre-delay, so it starts on a 4th (or could be a 8th, but it doesnt matter).

We Can Funk — phoque — Fuck?
Ow, come on, the one that "Can't Stop This Feeling I Got" blends into,
that's the one. It's one of his finest sonic moments, that Hammond, Eric, Miko's solo...
More horny in painful need than horny toad, it bears a frustration, not a Valentino's declaration à la one on GB. In 1986, he desperately NEEDS to funk — fuck meee — fuck.

But I like the laid-back interpretations as well.
The 1986 version just sounds final to me, because it's always been part of a musical tryptic (Girl O' My Dreams - Can't Stop - We Can Funk — fuck! again — Fuck).

My inner Tipper Gore is dripping with a fury
by typing this F word so many times in one reply

The Colors R brighter, the Bond is much tighter
No Child's a failure
Until the Blue Sailboat sails him away from his dreams
Don't Ever Lose, Don't Ever Lose
Don't Ever Lose Your Dreams
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Reply #8 posted 06/28/17 10:36am

joyinrepetitio
n

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I have an incredibly CD quality version of the 1986 version of We Can Funk that also has the same reverb. The 86 version I have blows any version of the 86 that's been released on bootlegs compulations out of the water. Has that spooky ghost effect like someone mentioned earlier.

__________________________________________________
2 words falling between the drops and the moans of his condition
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Reply #9 posted 06/28/17 4:34pm

dance4me3121

The version on the recent purple rain deluxe set is the best version so far.But I like all versions of it
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Reply #10 posted 06/29/17 6:58am

Styles

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Every time I hear it, Whole lotta Love immeditately comes to mind aka the breakdown section ---"way down inside...woman you need"

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