Mentioned by mixing engineer Michael Brauer as being used on "Violet Hill" in this *Sound on Sound* interview about the production of *Viva la Vida & Death and All of His Friends*. > Guitars: EMI Chandler TG1, Lexicon PCM42, API 525, API 5502, Roland Dimension D SDD320, Watkins Copicat > > "Normally I send each side of a stereo guitar to my EMI Chandler TG1 panned left and right and coming back on the console, but I didn't in this case, so I must have felt that it sounded bad. It might have taken away from the tightness of the guitars. They had already recorded it very tightly. So instead I didn't add anything to their stereo chorus verse guitar. I also had a mono verse guitar, which I sent to a PCM42 delay set at 224ms and panned to the opposite side, and every time the guitar strums it goes over to the right. On the acoustic guitar I did what I normally do, which is to send it through my acoustic patch, an API 525 going into an API 5502. That's a great combo and I have been using that for years. It makes the acoustic guitar very natural and full and gives it great presence without it sounding processed. In this song it's not very evident, because the acoustic guitar isn't very important, but, for example, on Parachutes the acoustic is very important, and I used the patch back then. There was no insert on the solo guitar. I did have a Dimension D SDD320 chorus on it, which spreads the sound naturally, and which went to a Watkins Copicat Echo unit with a fairly short delay. Otherwise it's totally dry, no reverb, hardly any EQ. Again, it was so well recorded that it didn't need a lot of work."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
Warren described his live rig his Guitar World interview, April 1987: "The output of [Marshall 100-watt amplifier's] preamp section goes into a control board for the effects I’m using, which are a Lexicon PCM-41 delay, a PCM-42 delay, and the Yamaha SPX90." In 1987 Ratt only seemed to have custom-made midi or relay switchers on stage instead of pedalboards. As you can see, Warren and Robbin had some similarities in their rigs, with PCM 42 being one of them.more
In [this interview with *Guitar World* magazine](http://www.guitarplayer.com/artists/1013/daniel-lanois-takes-his-studio-to-the-stage/51278), Lanois states that he'll sometimes run his pre-recorded tracks/loops rig through a couple of delay units. "I do these Jamaican triplet echoes with a Lexicon PCM 42 or Prime Time 2," he states.more
"My regular looping rig is a modified Lexicon PCM 42—the first one made of its kind. [Lexicon designer] Gary Hall modified it around 1981 to have approximately 20 seconds of sampling/delay time. The originals only had five seconds. I have another PCM 42 that was modded to feature a reverse-play switch."more
"In the past I used the Lexicon 224, 480 and to this day I still use the PCM 42. With Lexicon, you know the type of effect you are going to get and what the quality of the sound is," he said. "With the younger generation of musicians, they don't necessarily know the heritage of Lexicon, but when they hear something they like, they will ask you what they are hearing. That has been the case on more than one occasion when I've been using the Lexicon plug-in."more
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