Tired of the same old effects? The Eventide Orville is employed all through the night hours using direct recording methods, an ADA MP-1 preamp piped through a series of different routings using the Switchblade GL's endless mapping possibilites.
The noise: Starts with my basic strat vibro sound (the MP-1 on clean tube and the ART on Tremolo) and blends with Eventide's Liquid Sky and Glitterous Verb. If you have ever seen A Clockwork Orange then this Liquid Sky will ring a bell.
After drying up it moves to Angelic Echos. Shifted Delays confines the rhythm. Then Biomechanica is the thumpy noise blending with the Angelic Echos.
2:20 ushers in a real Vangelis moment for me. (I knew I hit record for a reason!) Salamanders D mixed with Black Hole presets, honestly my fave sound to get lost in. This is dried up to switch to a different Harmonizer pair of pitch shifting presets, Salamanders D mixed with Galaxy Borders 2. Galaxy Borders is a slow (long) strange delay that when blended gives some weird effects.
Until the 5 minute mark, this is the old basic rasp, low gain with a flanger, a reverb, and a delay. The trusty ART Multiverb supplies the flange! At 5:20 I move to increased gain, a stereo delay and separate reverb loaded up on the Orville. As the gain increased the reverb is removed and it switches to high gain with stereo delay, the usual lead sound I use. This is the MP-1 on 10,10 routed straight though at reduced mix. The Orville has 1 preset loaded as MUTE and the 2nd preset is the defacto standard Gorgeous Delay.
At 6:30 the cut is made, instant switch to heaven. Salamanders D and Black Hole.
All this noise. I have been kicking around the chord progression of Dm - Gm - Bm - Gm for weeks now, I got to do something with it. This is me toying with some optional breaks I wanted to work into it, as well as trying a mix of different effects. The real star of the show here is the Switchblade GL. The day I stopped trying to program remote control into the Orville presets is the day it showed up. It is glitch free and faultless. It lets me route straight through MP-1 signals to the amp.
The ART has it's own route, it provides some basic Tremolo, Flange, Reverb, & EQ effects. The benefit of this is you have SOME effects instantaneously. While the Orville is loading the ART has the background covered so you never are completely DRY, not even for an instant. I work this MP1/ART combination as the foundation of tonality. It is compared to a standard Combo amp that would have some basic Tremolo / EQ / Reverb features yet has all the presets you could ever want. Not to mention 12AX7 tubes paired with EL84 tubes, something lacking in modern modelling amps.
The Orville is 2 Eventide Harmonizers in one box. I have them routed as separate in/outs. I use channel A mostly because it loads faster and will get your effects going faster during preset changes. It has it's own route through the Switchblade GL and is blended using one foot pedal to control the Source (IN) to the device. So it's always on, listening for your input. When you rock the pedal it provides it's effects, as you back out of the pedal the Harmonizer finishes it's processes, this way you are left with all the tail ends of the effects. This is the first time I've implemented my pedals in this way and I have to say the seamless transitions are stunning, new capability.
The Orville's second processor (B) is handing it's own algorithm, blended with a second foot pedal. It loads after preset A so the effects are the secondary, ambiance effects in my trio of processors. ART Multiverb, Orville A, Orville B.
Swithblade GL Outputs. The end of the road. These outs are plugged into the Peavey Classic 50/50. The amp was recommended by my amp tech when I was looking for EL84 this is what he suggested. I love it! The back of the amp has outputs for speakers galore, and it has tons of inputs too. So to record I just run the direct outs to my computer at low volume. The 12" speakers that are connected are quiet enough to record at night. The signal is amplified as soon as it hits the computer for recording. The resulting file, when analyzed is low volume so I put a volume max fix using Goldwave on each channel.
This way the output video file has full volume, and sounds normal for computer users. The whole reason I do these postings is so that when I'm at a friends house I can crank up their computer speakers and listen to the tones, study, criticize.
What is missing are the EL84s because the amp is so low to record directly. Without a HotPlate I am limited. I have to kick open that door. They're only $100, right? I guess I need 2?
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All The Shifts In The Worldby Eventual420176 views
Hey Jim, wow !! Excellent !! Good to see you still around, haven't talked to you in the longest time. Cheers !!
jamiewheeler 1 month ago