high for chorusing , medium Separation for classic doubling , 75 % Separation with Thickness high for echo-chorusing , Max Separation with low Thickness for tape loop and slapback echo . Check it out and think about where you might be able to put this somewhat rare yet very powerful effect to work for you .
SPACE ECHO : What do artists as diverse as Radiohead , Bob Marley , Lee “ Scratch ” Perry , Pink Floyd , Sonic Youth and Bon Iver all have in common ? The use of lots of Space Echo throughout their careers . The brainchild of the engineer Ikutaro Kakehashi , various versions of the popular Space Echo tape echo device were released between 1974 and 1990 . Why does Ikutaro Kakehashi sound so familiar to me ? Oh , he also happens to be the founder of the Japanese musical instrument company Roland .
As with the ADT , the first thought might be to wait for the next reggae-tinged worship song to roll around and kick the echo to outer space and beyond . You could do that . Or for most congregations that don ’ t generally weave in Pink Floyd or Bob Marley style jams that often , you might consider taking the Space Echo into a more subtle place just short of interstellar space . I think that the more down to Earth settings on a Space Echo are actually great for snare and background vocals in moderation when you want to get a bit creative or break things up from the more sterile and staid digital delay and echo you might normally turn to . I did say “ in moderation ,” didn ’ t I ? Please make sure you come away with that point clearly .
Also as we mentioned with the ADT , you are likely to see a Space Echo pedal ( or a similar variation ) on the worship guitar player ’ s pedalboard . Boss makes a number of compact units which are the digital ancestors of the original Space Echo , like the RE-202 . I know what you are thinking , “ Oh , great ! I ’ ll save my guitarist the trouble of getting her own pedal and I ’ ll just handle it from the console !” Please don ’ t think this . Well , you can think it … just don ’ t do it . While there are super subtle settings you could work up on a console version of a Space Echo that would likely work to create a nice vibe for the guitar channel , it is going to feel quite strange to a guitarist to have these types of delay effects bouncing around ( or in their IEMs ) if you didn ’ t give them a heads-up first .
Check out a few examples of the Echo effect within the Allen & Heath dLive
here :
While I did warn against going too far overboard with applying the Space Echo type of effects to a guitar track ( without prior warning and agreement ), the ‘ Echo Evolving ’ track in the playlist above does include a nice application for guitars in which the tape drift and instability of the effect design can add ‘ life ’ and interest on top of an already open and expansive live guitar performance .
WRAPPING IT UP : We ’ ve only started to scratch the surface when it comes to the creative uses of ‘ nonstandard ’ effects and mixing techniques in a live setting . It goes without saying that the most important part of the gig is to create an engaging , clear , and impactful mix first — and then playing on the edges to work to bring new , surprising and fun moments into existence for the congregation and the musicians in the band . I would probably not reach for a Space Echo as my primary delay unit . But effects like the Space Echo , ADT , flanging , chorus , rotary speaker emulators , phasers , etc . can certainly add a nice side trip and widen the usual beaten path ever so slightly when it comes to live sound . Have fun out there !
Jeff Hawley A 20-year music industry veteran — equally at ease behind the console , playing bass guitar , leading marketing teams or designing award-winning audio products . He currently heads up the marketing for Allen & Heath in the US .
98 December 2022
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