Used for the vocals on *Icky Thump*, as stated by recording and mixing engineer Joe Chiccarelli in this October 2007 *Sound on Sound* interview. > * Vocals: Teletronix LA2A, Roland Space Echo, echo chamber, Neve 8078 EQ > “Jack always wanted more distortion on the vocals! The main vocal effect is a distorted slap echo, which I recorded: I overloaded the tape machine. When you severely overload something, it squashes the waveform so much that it almost sounds like a different instrument. Instead of being a delay of the original signal, it becomes its own sound and adds a vibe to the track. When it came to the mix, Jack wanted still more distortion on the vocals and more edge, so I overloaded an LA2A compressor, setting the output to 80. This meant that I was getting the distortion from the last tube stage of the compressor, which creates a really beautiful distortion. > “I also added some Roland Space Echo spring reverb to the vocals during the mix, and ran the vocals through the echo chamber. Any reverb that I used on the album would have been dark-sounding, and in a lot of cases I made it mono as well. In the case of *‘Icky Thump’* I’d pan a mono reverb left behind the vocal that was panned left, and the other mono reverb was panned right behind the vocal that was panned right. Both were panned at about three quarters. I might also have rolled some top end off the distortion, just to get rid of any ugly harmonics." This Space Echo is specified to be an RE-201 by [the official Blackbird Studio audio rental rack gear list](https://www.blackbirdaudiorentals.com/rack-effects).more
When recording the Arctic Monkeys 2011 album this article states : "A new sonic development for Arctic Monkeys on Suck It And See are the saturated Electro?Harmonix Big Muff?styled lead breaks that feature throughout — played mostly by Turner, but also by Jamie Cook. "It isn't a Big Muff actually,” Ford points out. "But we were trying to get that Les Paul neck-pickup sound. They've got quite a few of those weird, boutiquey fuzz pedals that give you that warm, creamy fuzz, so we used that for the solos mainly. There was one called the [Coopersonic] Valve Slapper that we used quite a lot.”more
In this [interview with XLR8R](https://www.xlr8r.com/gear/2012/01/in-the-studio-tycho/), Scott Hansen of Tycho talks about his Roland Space Echo which can be seen in the image to his right on the rack. "I use my Roland Space Echo a lot, because it's tape, so you get the tape saturation and warmth. And then you run it into the preamps, and those are transformer based, which gives its own kind of harmonic distortion."more
In this article it states : "So my very last question is about any other Roland gear you’ve used over the years? I bought this Roland thing in Japan in January, like a little rhythm box, the thing with the wooden… CR-78? Yeah. I’ve been using that a lot, I really like that and the Space Echo has been like a staple of mine. That was the first bit of analogue equipment I ever bought."more
> > All over the record, though, is an Eventide H949 Harmonizer. That’s the main effect. Usually, on all my other records, I’m using a [Roland] Space Echo or a tape echo, but I’ve become completely infatuated with the Eventide. It’s the effect that Bowie used on [1977’s] Low—just a crazy ’80s[-ish] effect, but you can do really fucked-up, weird shit on it. All the weird, echo-y, spaced-out stuff is coming from that.more
> The cool thing about those Roland Space Echos is they all sound different and they all have their own quirks. The one I have made my amp sound even cooler and colored the tone in a great way. Tape tends to do that, but it made my amp sound a bit glassy, twangy, and even bumps the bass a little. Howard owns both RE-201 and RE-20 Space Echo, with the latter being used as a backup.more
In an interview in 2014 "(...) the RE-201 Space Echo. We use it on everything. It's very heavily used on the Kiasmos album, I think we tried sending almost every track trough it at some point.The grittiness and randomness of the tape is almost always a welcome addition to a stale sound. I don't even use it for echo most times. Send your pads to the tape without any repeat two times, pan them out and listen to that weird wobbly massive pad sound."more
the nigh-brow Brookline section of Boston. Since he has no use for a chauffeur (the previous owners apparently did), Ocasek has instead cluttered the room with a surprisingly modest collection-at least given his income-of electronic toys and studio curios with which he has recorded Cars song demos and most of Beatitude. He can't tell you much about his guitars except whether they are Gibsons or Fenders-the former for leads and core rifts, the latter for rhythms. In addition to using a Roland Space Echo, he is fond of the slap back he gets in the adjacent bathroom by filling the bathtub with varying amounts of water. And he absolutely refuses to move from 8-track up to 16.more
"Steve owned this when I met him, and when we started jamming in his basement late at night, we ran EVERYTHING through it: vocals, drums, guitars, bass and percussion. It gave those early jam sessions a super lo–fi vibe that sounded awesome, sort of a fuzzed out Cramps style rockabilly. We continued to use in on almost every session we did at Smart for 30 years!"more
On June 5th, John Foxx will be taking his group The Maths to the Roundhouse in Chalk Farm London for a one-off performance of his classic album Metamatic. Now, after our feature on Benge's synths was such a hit with you lot, we thought that some of you might like to get warm under the collar and quivery of the finger tip to learn what John Foxx will be packing in the back of the van for the Roundhouse show - please check out the mouthwatering list below, and have a look at some John Foxx & The Maths on YouTube while you're at it. Find out more about this incredible event (which also features a DJ set by Gary Numan and Ade Fenton) at the Roundhouse website. John Foxx'Metatronic best-of is out now. Synthesizers: ARP Odyssey x 2, ARP Sequencers x 2, Crumar Multiman, EDP Wasp, Korg MonoPoly, Korg 700, Logan String Machine, Moog Mini x 2, Moog Modular plus Sequencers, Moog Opus 3, Roland Modular System 100m x 10 Modules, Roland SH2, Roland SH-101, Roland Juno 60, Sequential Circuits Multitrack Drum machines: Amdek Percussion Synthesiser, Boss Dr Rhythm, Linn Drum, Klone Drum, Roland CR78, Roland TR808 Effects & Processors: Boss Chorus, Boss Flanger, Boss Phaser, Electro Harmonix electric mistress Flanger, Furman Spring Reverb, Ibanez AD80 Analog Delay, Maestro PS-1 Phase Shifter, Mu-tron Phasor, MXR Phase 100, Roland Space echo RE-201 Other Equipment Tascam & Revox Analogue Reel to Reel Tape Machinesmore
In the comments of this tweet, Shura says, "it's a Roland Space Echo Re-201. Basically one of da coolest things on the planet." In [this interview](http://www.nylon.com/articles/shura-alexsandra-denton-interview), she says, "I became obsessed with synthesizers and can waste many hours just messing around with my Roland Space Echo."more
In [this interview] with Reegs' singer/keyboard player Gary Lavery, he explains that Fielding used an RE-201 during his time in the Chameleons. "What I mean is, we couldn’t get our heads round the speed his fingers were playing in comparison to sound coming out of the guitar amp via this magical effects box, the Roland space echo was that box, the RE201 I think and he would explain to us what delay and feedback times were, basically a guided tour of an echo machine and it just blew me and Moorsey away, it wasn’t just what the 201 did, it was the way he played the delay and was confident with it coz if you hit a duff note while playing through an echo, you’re not , as some musicians [I use that term loosely] think, gonna be able to cover up dodgy playing. I can tell you now, that the only thing that, that there echo’s gonna do with that liddle old bum note ov yerz. It’s gonna repeat it you rednecks!"more
"JACK!! We recorded at @theatomicgarden in April. The music was recorded live in one room together without headphones. It was recorded 100% analog to a 2" tape, and mixed manually to a 1/4" tape. Our first single, "Only Friend" is out to stream everywhere. #deathwishinc #gougeaway #theatomicgarden"more
"It was a Roland CR78 drum machine, and Mikey [Craig] played bass and Roy [Hay] played my little Korg Delta 770 onto one track, because we knew we wouldn't have a lot of tracks to play with, then the first overdub was guitar, just DI'd into the desk, and then there was a lead guitar, with a Roland RE201 Space Echo, and then the lead vocal. On the actual master version of that track, I'd built a noise gate myself which didn't work very well. It chopped the front off everything, and on the master we had the guitar that went 'wha wha wha', which was actually Roy playing through that noise gate."more
“This has also featured on most productions - it just adds vibe and inspiration straight away, whether using the echo, spring, or just distorting things. UAD makes a very impressive plugin emulation but I consider the hardware piece to be almost like an instrument that you can play with. I also have a modded WEM Copicat and my Electro-Harmonix Memory Man gets a lot of action, too. I’m looking forward to doing some non-exclusively-acoustic music to get into these things again!”more
Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 *Sound on Sound* interview about the production of *Humanz*. > “Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”more
I started with tape echo with this guy-Then my tech turned me on to the Multivox. Now I've got 2 of those juuust in case one has issues on the road. The Roland just can't match up, but it still can be fun...provided you have the Multivox as well ideally.
basically my life blood at this point, although i only picked this buddy up a while ago, it's become one of the main staples in my studio. My only complaint would be how expensive these are to maintain.
I can't really say anything about this beast that hasn't been said a million times already. The musical landscape of the 70's, 80's and 90's would have been completely different if the RE-201 hadn't existed. I recommend everyone to buy one if you have the chance.