greg soljak wrote:
… I’d like to figure out all of the processing that;s going on. I am wondering if the choral ‘sheen’ that you mentioned (starting with the initial high Eb open string note that is pedalled over the first Eb arpeggio with massive sustain) is maybe a separate track? I’m noobish and can’t think how you’d get that high Eb open note sustaining that long, without causing the same effect on the other played notes if it was all one track?…
That would work, but I think it’s also possible using an H9 algo with a ‘freeze’ function. Maybe one with a slower ‘attack’ capability, like BlackHole or DynaVerb.
https://www.eventideaudio.com/comment/31523#comment-31523
greg soljak wrote:
…I think you’re quite right about the triplets being effects-driven rather than played notes. Thanks for the ideas around parallel split for the pitch-shifted delays…
Actually, I was thinking of the parallel split for the high octave note entrances. To me, those appear to be 100% wet pitch shifts of the actual picked notes; singled out, shifted, and delayed longer than the ‘triplet’ processing. In a separate, parallel leg past the split to the ‘triplet’ processing.
greg soljak wrote:
It is probably cheaper to maybe try out a demo copy of the H949 (if that’s the appropriate unit) as a plugin in my DAW so I can create as many parallel pitch-shifted signals as I need, rather than buy a second H9…
Caveat: I haven’t tried any of this yet. Of course, a DAW plugin version would be more cost-effective & versatile for this application. I still believe the ‘triplet’ processing could be approximated in any of the H9 algorithms I mentioned above. Just not sure which one would come the closest, without a little experimentation first.
