I recently mixed the Jolie Holland album The Living and the Dead (on the ANTI-label), which was tracked in lots of different places. I will still use the Lexicon 224XL for a vocal reverb once in a while, if I am already dedicating the Bricasti to being the "room" that the rest of the instruments are happening in. From the big old, LARC-equipped Lexicon boxes (224XL, 480L) to the TC Electronic multi-effects units (Reverb 4000, M2000), the Bricasti sort of put them all in the "flavor" category for me. In short, the M7 took the place of my primary reverbs-all of them. I say "sort of" because to find a space so perfect for any given sound is rare, and there are "spaces" in the M7 that literally just sound "perfect" to me, including modal interest that animates the low mids of the strings, or high-end diffusion that makes the snare feel 10 ft wide, even in a dense rock mix. If you are using the M7, you have the space you need to bring those elements to life. If you are using the M7, you have that big old plate in your rack. If you are using the Bricasti M7, you have that school entryway in your rack-sort of. until someone on the couch says, "Are you really gonna put that much 'verb on the violin?. The instrument is brought into being by the space it's in, and the right space can give an instrument a "glow" or a life that is undeniably engaging, evoking something involuntary inside us, before the analytical aspects of our personalities break it down into constituent elements. With acoustic instruments, the sonic environment around them is like light to the photographer. When you walk into a room that seems like a cool acoustic space, do you clap your hands to hear the decay properties? Do you keep the conversation rolling while part of your brain tunes in to the resonance of the room? Do you find yourself wishing you could record the drums for your next record in the stone entryway at the local school where you stood in line to vote?
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