Norah Jones

Used extensively on The Fall, as stated by producer Jacquire King in this Universal Audio interview.

And the EMT 250 is amazing. That's one of my favorite digital reverbs. It’s all over Norah's record, on all of the songs, I used the EMT 250 reverb plug.

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.

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.

Used on The Fall, as stated by assistant engineer Brad Bivens in an editor's note in this February 1, 2010 Electronic Musician interview with Jones, producer Jacquire King (whose words the editor's note intersects) and Bivens. At the time, 3.0 was the latest version of the software.

The only thing I brought along was the Universal Audio 2-610. [“And the Massenburg MDW Hi-Res Parametric EQ to add extra fluidity to every channel,” Brad Bivens adds.]

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.

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.

In this Universal Audio interview with King, it is specified that the Time Cube was, in fact, the plugin, as opposed to the original analog unit he used on Kings of Leon's Only by the Night.

What's really exciting about the UA stuff is, for instance, I hadn't used the UA plug-ins when I was making the [Kings of Leon] Only by the Night record, but I was using a Cooper Time Cube. When I'm in those situations, I get something set up on the console, and then when I do my transfer from the 2", I also transfer the effects that I've set up. Like if I put a Cooper Time Cube on a guitar track, I'll transfer that in. For the last couple of records, these plug-ins are so good that now I don't have to have those things either rented, or set up, and printed in. I'm using the plug-in.

Used on the The Fall Tour for the closing jams' Nuemann TLM 103 (for which Jones played guitar), as stated by FOH engineer Brett Dicus in this July 9, 2010 Mix Online interview.

Four members of the band do a little jam at the end of the show surrounding a Neumann TLM103 mic. Dicus has a Waves Q10 inserted on the channel, as well as the strip EQ to help eliminate feedback and then to contour the tone.

Used on vocals for the The Fall Tour, as stated by FOH engineer Brett Dicus in this July 9, 2010 Mix Online interview.

Onboard plug-ins include Waves C4 (vocals/bass), McDSP, Elysia, Crane Song and Flux. “These give me the control I need to consistently adapt to the wide range of rooms we are playing,” Dicus explains.