by Native Instruments

Progressive house reverb techniques: inside Shingo Nakamura’s mixdowns

Reverb is absolutely essential in any mixdown, especially for in-the-box productions where most of the instrumentation comes from VST synths and sample-based drum loops. It not only ties these elements together by creating a shared sense of space but also adds movement, texture, and a lifelike quality to otherwise synthetic layers.

Few understand this better than Shingo Nakamura, one of Monstercat Silk’s leading artists. Known for his progressive and melodic house tracks, his productions are driven by melody and emotion, always carrying a rich and evocative texture. Reverb plugins, particularly Raum, play a key role in shaping his sound.

In this interview, we dive into how reverb enhances the atmosphere, its role in pads and background textures, techniques for different elements, and common mistakes that can cause reverb to overwhelm the mix.

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Raum has been his go-to for years, making him the perfect person to talk about using reverb to craft the intimate yet club-ready vibes he’s known for. So let’s get started.

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How does reverb contribute to the overall atmosphere in progressive and melodic house tracks?

Recent progressive house and melodic house tracks often feature impressive arpeggios and melodies as the main part. Reverb plays a crucial role in making these sounds more impressive and warm.

Such parts may include analog-like noises to create a more impressive sound. Reverb is what makes that noise even more striking. To emphasize the noise further, it is also important to combine it with distortion and saturation.

Raum 2
Raum 2

Since I love creating soft-toned tracks, I use reverb on many parts, including not only arpeggios and melodies but also pads, pianos, plucks, and percussion. Therefore, it is crucial for me to have a user interface that is easy to understand and allows me to achieve the intended sound with minimal parameters. One reason I like Raum precisely is because of that.

What role does reverb play in creating atmospheric pads and textures?

I use pads and textures from synths or sample libraries, applying reverb to emphasize the tail (release) of their sounds. By combining these with dry piano sounds, I can simultaneously highlight the transition of chord progressions and bring out the beauty of ethereal pads and textures.

By applying heavy reverb, I can create dreamy atmospheric pad and texture sounds. For example, I sometimes use the Airy mode in Raum, setting the Mix to 100% and Decay to 10s, to transform piano sounds into pads. I love Raum for its ability to create impressive sounds with simple parameters.

Additionally, I sometimes use automation on the reverb for these parts to create a dramatic progression in the track. For example, I gradually increase the reverb from the break to the drop and then stop the pad or texture sounds at the drop. This is my standard method.

Can you talk about your use of reverb on synths and vocals compared to using reverb on drums and percussive elements?

Raum
Raum

In a word, it’s all about decay. For me, I usually set 1–3s for synths and vocals, and 0.25–0.5s for drums and percussion.

Adding short-decay reverb to percussion like hi-hats or claps often helps them blend with other sounds, and I use this technique frequently. Since each percussion part has its own appropriate decay, the percussion is not grouped together, but reverb is applied separately to each part.

Reverb on synths and vocals also plays an important role in filling the empty spaces. In addition to the reverbs mentioned above, I add another reverb with a longer decay. For Raum, I apply automation to the Mix parameter, but I also use a compressor to achieve ducking.

What are some methods for creating a sense of movement or evolution in a track using reverb?

Press 1
Press 1

Writing automation is essential. For example, gradually increasing the Mix parameter of Raum on an arpeggio every 16 bars can make the track’s progression feel more dramatic. I often combine it with automation for delay and filters.

Moreover, sidechain compression and ducking are critical. For synths and vocals, I create a separate channel with Raum applied at 100% mix, playing alongside the dry sound. Ducking this reverb afterwards brings a sense of dynamism and groove.

How do you prevent reverb from overwhelming the mix and maintain clarity?

I always use Raum’s Low Cut parameter to remove low-end frequencies. Since my tracks tend to emphasize the mid-range, I also apply sidechain after adding reverb. Balancing the dry and wet is quite difficult and I often struggle with it.

It’s also important to reconsider whether applying reverb is genuinely necessary. For this, monitoring in various environments is essential. I check my tracks in my home studio, at clubs where I can confirm at high volumes, as well as using iPhone speakers and inexpensive $20 earphones. This is not just for reverb but is a vital aspect of mixing overall.

What strategies do you employ to ensure that reverb complements rather than competes with the dry signal?

Press 2
Press 2

As I’ve mentioned before, it’s crucial to carefully consider whether the reverb is truly necessary and, if so, what the appropriate parameter settings should be. Instead of applying reverb after grouping, I apply it to each part individually and fine-tune them accordingly.

When I use Raum, I often only adjust the Mix, Decay, and Low Cut parameters. Since I use reverb frequently, Raum has become indispensable due to its user-friendly interface and the ability to achieve the desired sound with its simple parameters.

Additionally, applying EQ before and after the reverb is important. Before applying reverb to sounds like pads or synths, I cut the low end below 400 Hz using EQ. After applying reverb, I make adjustments using Raum’s Low Cut and High Cut, as well as an additional EQ. It allows for a clearer sound with minimal reverb.

Start using reverb in your productions

A huge thank you to Shingo Nakamura for sharing his expertise on using reverb to shape the lush, emotive soundscapes he’s known for in melodic and progressive house. His breakdown of techniques showcases how Raum, his go-to reverb plugin, plays a pivotal role in creating atmosphere, movement, and balance in a mix. From transforming piano sounds into ethereal pads to automating reverb parameters for dramatic transitions, Shingo demonstrated just how versatile and impactful Raum can be when used with intention.

What stood out most was his emphasis on clarity and purpose – adjusting parameters like Decay, Mix, and Low Cut to ensure reverb enhances rather than overwhelms a track. His practical tips, like using EQ to clean up frequencies and testing mixes on different systems, prove that a streamlined tool like Raum can deliver professional results without unnecessary complexity. Whether you’re refining percussive elements or creating dreamy textures, Shingo’s insights remind us that with the right plugin and approach, reverb becomes a powerful creative ally.

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