This combination of treatments is also enshrined in Strymon’s Big Sky effects pedal that features a pitch-shifted reverb called ‘Shimmer’. What’s interesting about both of these examples is that the initial soundsource is often relatively simple – a DX7 patch in Eno’s case, or a Fender Rhodes in the Vangelis example – with a big part of its interest coming from the application of effects like reverb, delay and pitch shifting.
The sounds that we’re exploring are inspired by the textures created by Brian Eno and Daniel Lanois on their Apollo: Atmospheres and Soundtracks album, as well as Vangelis on the original Blade Runner soundtrack. In this workshop, we are going to explore a particular sound type – ambient ‘shimmer’ pads – but as you will see, it’s as much an exercise in effects routing and the creative application of reverb as it is in the typical tools of sound creation and synthesis. In many ways, the combination of virtual analogue instruments, samples, audio effects and mixer in Logic Pro X could be seen as one giant synthesizer, capable of producing a range of different sounds. One of the most intriguing aspects of working with a DAW is the blurred line between the software working as a production tool and as a musical instrument.
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