I usually have another reverb bus for more spacious sounds – for example, in the opening track “Home,” which has a very open, airy feel. That one might have a decay time between two and four seconds to create more depth.
When it comes to headphone listening versus club playback, I don’t necessarily design separate versions. I start by writing music meant to be listened to, and then I might slightly adapt it for club play.
In a club, too much reverb can make things feel washed out since the room already adds reflections, so I’ll tighten it up a bit. Overall, I try to find a middle ground – especially since A Place To Call Home transitions from more spacious, emotional tracks in the first half to more direct, club-oriented ones in the second.
Because of that, all of the tracks are written and mixed for a middle ground between the home listening and club-ready side. Finding the right balance in that aspect was probably the biggest mixing challenge on the album.
Pro tip from Corren Cavini: Work with people who believe in your vision. Collaborate only with those who genuinely connect with your project and won’t try to mold you into something it’s not.
