Used on Jones' vocals for *The Fall*, as stated by producer Jacquire King in this February 1, 2010 *Electronic Musician* interview with Jones, Jacquire King and assistant engineer Brad Bivens. > She was into adding delay on her voice, trying not to just make it pretty with reverb. The delays were both analog and plug-in. I use Audio Ease Altiverb, SoundToys EchoBoy delay, some of the UA plug-ins—they have a nice EMT 140 emulation—and the Cooper Time Cube Delay. We used The Magic Shop’s Marshall Tape Eliminator AR-300, a tape slap simulator. And Norah had an old Ibanez analog delay. We used a Roland Chorus Echo and EMT 140 plate reverbs, too. Sometimes I will use an Eventide H3000 for harmonic delay effects, and as I get them going I will print them in Pro Tools with the transfer from analog.more
Used for the vocals on *Volume 3*, as mentioned by producer Pierre de Reeder in this April 15, 2015 *Electronic Musician* interview. > Embellishments include Deschanel’s lush vocal harmonies, which she develops to suit each track individually. “She comes in, more often than not, with her own idea for specific harmonies in mind, and depending on the complexity, we’ll either fill out the tracks on tape or, with some of the more complex ones with many parts—and it’s all her, those harmonies—we will create as many as 10 or 15 tracks in Pro Tools to make a big sound. > “There’s also a lot of plate reverb on the tracks,” de Reeder continues. “Sound Factory has three EMT 140s, and we used two, and analog delay, with just a touch of slap.”more
"One thing that’s gets used on his mixes all the time at the moment is the EMT 140 Plate reverb, and apparently the studio has several of them. The reason why the huge EMTs can’t be seen anywhere in the studio however, is because they are in a room up on the roof! 'We actually had to hire a crane to lift them up there,' laughs Alan."more
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