Used on the organ for "Take Me to Church", stated by mix engineer Rob Kirwan in this March 2015 *Sound on Sound* interview. > **Guitars & keyboards:** TL Labs TL Aggro, Avid Trim, Waves Puigtech EQP1A, Eventide H3000, Focusrite Red EQ & Audio Ease Altiverb. > “Below the ‘Kit Plate’ aux track are four organ tracks. The top two were recorded through an amplifier via my 57 and Delta mics, and below that is a distorted organ track, with the Trillium Lane Labs TL Aggro compression plug–in on it and a Pultec EQ. The ‘Organ 3000’ track is probably me putting one of Andrew’s Logic organs through my Eventide H3000. Further down are six guitar tracks without any treatments — the ‘T’ on one of them is a Trim — and below that are the piano tracks, some of which are again heavily edited. Andrew wasn’t as good yet at playing the piano. He’s very good now, though! I got him to do the left hand separately, which are the ‘New Piano’ tracks. I once again had the Focusrite Red EQ plug–in on the piano, and there’s a ‘Piano Verb’ aux track, which also has the Wendy Carlos EMT plate from Altiverb, just with a different pre–delay. In general I like to create a sense of everything coming from the same space, so the Wendy Carlos plate is on many things in this song. There’s more piano below that, again with just Focusrite EQ. In all there’s a lot of piano, it was one of the most important elements of the song.”more
"I used those with a variety of rack effects like the Yamaha SPX 90, and TC Electronic 2290, and Eventide H3000 in a stereo set up. A little later I also used a Roland GP-8. Slightly off topic, my Dad liked the sound of many of my presets on the GP-8 so I went to Guitar Center and bought him one. I copied all of my presets into it and he used it extensively on his 1988 tour. The clean sound that you hear him soloing with is him playing his blonde Performance Guitar through the GP-8."more
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
Mentioned by *A Head Full of Dreams* co-producer Rik Simpson as having been used on Coldplay’s “Hymn for the Weekend” in this *Sound on Sound* interview. > “Another song that came together in an interesting way was ‘Hymn For The Weekend’. The song had been around in a basic form since the beginning of the sessions, and it was quite hard to get the tone of it right. We ended up recording many different versions, and bars or parts of earlier versions found their way in the final version. The song ended up as a hybrid of styles, with strong hip–hop/R&B elements. If you listen to the drums in the verses in particular, they are very swung and sample–based. The main beat is a combination of live drums and programming. I think Stargate used samples in Structure in Pro Tools. > > “Mikkel and Tor have an extensive sample library. The great producers that I have worked with in the past generally have had vast palettes of sounds, but often would come back to a handful of their favourites that they knew would work and also constituted part of their signature sound. Even if it is not exactly the same sound, it often shares an ethos. It’s like, ‘Oh, this is a Brian Eno whomp,’ or ‘This is a Stargate kick drum.’ It inspires the people in the room. The beginning of the song ‘Violet Hill’ on Viva La Vida is a big ambient intro with Davide Rossi on strings and Jon Hopkins on electronics. They had been jamming and I put what they had done through an Eventide H3000 and it became this big ambient thing. When the record came out there was a lot of talk about it being classic Eno, even though he had not been in the room. But somehow the energy got tapped, and we did the sort of thing that he would have done.”more
"For effects, Pearson uses a variety of multi-effects units to help create different sonic textures. 'I have a TC M5000 multi-effects unit, a Lexicon 480L reverb, a [Yamaha] SPX-990 multi-effects, a PCM 42 delay and an Eventide H3000 Harmonizer. On Alanis' CDs, she overdubs her voice a lot to create harmonies and textures, so I use a variety of delays and the harmonizer to create different textures between the verses and the chorus. But [I] keep it sounding natural to imply the effect that she uses on the CDs."more
Like staring into a nebula while a gas giant is going supernova off to your left. And a new galaxy is being created from the clash of two black holes that will bring new life to the universe. A chorus of Angels singing to let the universe know that perfection has been achieved.
All you posers with your other multi-effects processors just can't hang. Just kidding! I love and respect each and every one of you reading this. But seriously, save up and get one of these. I want a second or third one.