The Red 2 EQ emulation was used on the piano and vocals 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.”

Used on the vocals for "Take Me to Church", as stated by mix engineer Rob Kirwan in this March 2015 Sound on Sound interview.

• Vocals: Bomb Factory 1176, Focusrite Red EQ, SoundToys Echo Boy, Line 6 Echo Farm, Knas Ekdahl Moisturizer, Waves Renaissance Compressor, Avid Trim & Audio Ease Altiverb.

“The two ‘tele’ voices at the top are backing vocals. I think they were ‘oohs’ and ‘aahs’ that came from the demo. They don’t sound like telephone voices at all, so I’m not sure why they’re called that. Instead they almost sound like church voices. Below are two aux tracks for those vocals, with Bomb Factory compression, Focusrite EQ and an Echo Boy delay. The backing vocals below that — ‘BV1–4’ — are the ones with the signature Leslie effect on them, and they again have some Focusrite EQ and Bomb Factory compression, and I gave them some Echo Farm slap delay to add depth to the reverb.

“The next tracks are the verse lead vocals from his Logic session, called ‘Male Creamy Lead Vocals’, on which I put some Renaissance compression and a Trim, and ‘Vox Verb’ is the Moisturizer track, plus two Trim plug–ins, one being +1dB and the other –0.5dB. I hate automating in Pro Tools, so I will often use the Trim to bypass it. Writing automation is a tedious task. Below this are the chorus vocals, called ‘New Vocal’, so we obviously recorded these again at my studio. In order to make them sound like the demo vocal I stuck them through the same chain and EQ’d them heavily. ‘Vox Plate’ is the Altiverb, and there’s a delay track below it which again has the Echo Farm, on a delay setting. Finally there are several more double–tracked chorus vocals, and they also have the Renaissance and Focusrite, and the Moisturizer and Echo Farm aux tracks below them.”