View Single Post
Old 11th October 2016
  #4
Hey, glad that you liked it!

The fx was simple - I prepared three different delays - one a bit longer - sort of "I am a delay and I play along", big dream delay, one less distinct, shorter "I am part of reverb" delay and one noticable, but short with less repetitions - for the "Abri" effect - like real bounces off the walls... and I had SDE3000 set to "time x2" and "filter" engaged that makes its delays sound darker and more "real" - like echoes that loose high end with repetitions like in real life... and that Roland just sounds so creamy anyway... I thought I was shooting myself in the foot with purchasing HW delay in this age of great plug-ins, but it works... it can have this retro vibe if you want or can be subtle and dreamy and very tasteful self-oscillations - for the psychedelic stuff - like in the last song - where I used it live and changed in real time the amount of feedback to make that trippy ending - I also use both processors live now...

I fed the signal of the delay into the reverb input. The reverb in all the songs is the same hall preset I made for Lexicon PCM70. It is a great sounding unit, maybe the mono input that spreads to stereo has some charm, too. I otherwise prefer chamber and plate algorithms, but for this purpose the hall was more suitable, especially when fed the delay signal, not the dry signal... The reverb would be much more obvious and separated from reverb if used separately... I borrowed a technique from guitar rigs that have delay and reverb pedals in chain feeding each other - much different sound than using separate fx sends...

I was going for a reverb that is a bit away from the source - like a flautist plays intimately close to you, but you feel like you are in some special weird space echoing in the background - it makes this intimate magic feeling that way...

I played each song with fx send, so I could play the effect... but I re-recorded and fine tuned in the mix... the ratio between delay and reverb mostly...

The only other thing I did to the reverb/delay in the mix was eqing some low mids and mids that built up with the dry flutes too much, and in some cases less than db high end roll off on the reverb to make it a bit darker and leaving flutes a bit "closer"... I didn't EQ the dry signal at all.

Also for those rattles and kalimba I used the same mics, only the last "live" bonus track is recorded with a single MD441N for all the instruments through TC Voicelive looper/fx and with SDE3000/PCM70 added in the mix. It is mono, with reverb in stereo... But still sounds spacey...

Sennheiser just did something right with all those mics...