Who are you and where are you from?

My name is Lauri Saine and I’m a musician from Finland. I currently live in the capital, Helsinki.

So your moniker Saine is actually your real name?

Yup it’s my surname, I remember just sticking with it for the simplicity, after figuring some more techy name alternatives might eventually turn out to be cheesy.

A lot of the music on your latest album sounds like it’s played live rather than sequenced – a case in point being the piano piece After What Seemed Like Forever – is that the case?

Yes that theme is 90% improvised live during one misty spring night/morning, although usually it’s a combination of both. Many of my tracks are 90% programmed as well and often the live-sounding things can have quite a bit of different takes and sequencing behind them. Also I don’t have the skills to just press record and spontaneously get to a finished result in one go, so I do edits afterwards. I like combining improvised, experimental things with surgically programmed elements and see how they work together.

Long Time No See by Saine

I think it’d be safe to assume that most Renoise users are not proficient instrumentalists, but rather more technically-minded music producers. How do you find working with live recordings in Renoise, as it’s not traditionally seen as one of its strengths?

A good question. For me personally, working mostly with shorter recorded clips and loads of them, it works well. I don’t end up with a messy audio pool filled with oddly named, often unneeded temporary clips taking up HD-space. Instead I get to keep the project neat and organized while I’m doing recordings and all the relevant files stay within reach. The way I look at it, there’s not a big difference between a live recording and other types of musical elements. Take sampling for instance: it often falls somewhere in-between to begin with, and I like to treat them as equal building blocks for new music.

If we were talking about regular multitrack sessions with a band where the drums alone can have a dozen mics, a traditional piano roll sequencer would surely suit the purpose better. For me as a sample-focused musician though, it’s way faster to work with a tracker interface, allowing me to visually line up all notes next to each other, while having the track commands and built-in audio editor/recorder near at all times. I do lots of spontaneous recording from anywhere I can think of, so it’s good to have these tools close by.

While a traditional piano roll view suits the recording of simultaneous tracks and moving these large chunks of audio around, working with shorter samples, it’s a different story – trying out combinations of different pitches and timings, it’s important to see those building blocks from different tracks constantly in front of you. Using Renoise I don’t have to think about how to overcome limitations such as not being able to put several different audio samples on top of each other on the same track at different pitches, giving each sample individual volume envelopes etc. Of course you can always find alternate routes for this type of thing, but instead of seconds it will take minutes – a lifetime when the inspiration is hitting and you just need to audition several different approaches quickly.

Pretty much any software can do amazing things in the right hands of course, but a comfortable workflow really makes a huge difference in terms of creativity. A lot of people are scared of the matrix-like tracker interface and I bet it can look intimidating at first, but to me it just means less annoying windows and not having to switch back and forth between tracks and views all the time.

How did you find out about Renoise and what attracted you to it in the first place?

I remember stumbling upon a screenshot around 2003 and got interested. I think there was a competition going on for the name of the software. I had used MadTracker for a couple of years. It was fast and stable, but seeing it fade away and become old-fashioned at the time, I started to do things with sequencers such as Logic Audio and Cubase. I was unable to find my comfort-zone though, even though these are powerful pieces of software. Again, these were great for some purposes or working with MIDI, but sessions often required a scary amount of setting up so you could no longer begin making music in an instant, templates or not. Everything was dependent on strict folder structures so projects were no longer easy to move around and every little thing seemed to require quite a bit of zooming views in and out, opening and closing windows.

So eventually I felt like that interface was initially built for different working methods. FastTracker II was my first love around 1995 so Renoise basically felt like going back home. The home was now pimped out with goodies like VST support, so it fit like a glowe.

The album is very organic-sounding, and despite the range of styles on offer, sounds very coherent. Do you have any special tricks in terms of post-processing to achieve that coherency?

When I first started sketching how this album ought to sound and feel like, I laid down certain guidelines for myself regarding processing. I was aiming for a dusty, nostalgic feel without ending up too retro/gimmicky and also maintain a sort of sparkling/fresh vibe in between. The album doesn’t have featuring artists or vocalists so I wanted to have enough “room” to maneuver between these realms soundwise – to make sure I’d get enough variation between tracks.

For some elements throughout the whole album, I used similar processing chains and techniques. Like with transients and exciters for drums, I used pretty much the same tools throughout the album – the sample material I used varies quite a lot between tracks so I figured this might glue it all together a bit. The album was mastered by Fabien Schivre, which also plays a part in the coherent end result. He really “got” the idea I was after very quickly and helped create a dynamic, creamy tone for it. We both agreed on dynamics before loudness.

I believe these subtleties of sound are an important thing, not mere nitpicking – and also a part of the actual creative process. A good dish wouldn’t work with the wrong seasoning. It’s all a “work in progress” for me of course when it comes to sound/mixing, and there are always so many things to improve on, but that’s what makes it so much fun.

Do you use any hardware or outboard gear or is everything done on the computer? And in more general terms, do you prefer working with software or hardware?

I use some hardware yes, but mostly I work in a small, budget homestudio with not that much gear. The reason is purely financial. I use a tube stereo compressor/eq frequently, some effect pedals here and there, running VSTi’s through c-cassette and such. Sometimes I like to record samples with a mic through vintage speakers, small things like that. But these depend on the situation and sometimes the simple approaches work best. Overall I believe people often focus too much on the gear used and specifically whether it’s expensive, street credible gear or not.

Of course it can be important to work with proper equipment and to have good AD/DA converters, good speakers etc – but in the end it’s still a relatively small fraction of the whole picture so one should at least not spend more time on that than on the actual music! It’s possible to get incredibly nice sound from just software alone, with a bit of enthusiasm – just like it is possible to make amazing things with say, nothing but a worn-out guitar.

I think it’s generally a good idea to embrace both side-by-side and just use what feels good – at least it would seem very silly to leave the other out completely, as both have their unique plus sides. An increasing amount of albums are being made completely in-the-box and the results can be incredibly good, even warm/analogue sounding. But I am a fan of the 60′s/70′s sound and it is still quite rare to hear that level of dynamics/warmth in electronic music. So if it wasn’t so expensive, I would definitely get some hardware gear around here, no doubt. Plugins are also getting better and better at an incredibly fast rate, though. Whatever suits your music best, I say.

I keep finding myself back in the 90′s when listening to your album, both April and Jetpack have a definite St. Germain or mid-90′s French deep house flavour to them, and in other places there’s quite a Mo Wax feel. Are these conscious influences and is this a period you feel some affinity with?

It’s nice you picked that out! The mentioned were some the most powerful sources of inspiration when I was first starting out, as well as mid-90′s hiphop. That era is when I got into this thing, so I guess it’s unavoidable that fractions of it remain. With basses especially, I wanted to get that fluffy roundness, especially on those beat-focused tracks. I like to keep a little bit of distance to the very trendiest and freshest things that are going on, they seem to fade out as quickly as they appeared.

Yes, you definitely nailed that bassy, murky, thuddy roundness that’s so characteristic of those records. How do you feel about the current climate for the type of music you produce?

Apparently these more “mellow” styles which I guess my music more or less represents, haven’t been very trendy the recent years, compared to more aggressive/masculine styles of electronic music. Perhaps due to the overload of triphop/nu-jazz after the turn of the millennium, they are often associated with cheesy elevator music. Which is funny if you think about it – a lot of that “powerful” stuff is cheesy as hell just the same, but you get away with it: it’s loud and impressive for a while. Long enough to move on to the next. This might be changing as we speak, though. I might be wrong but this whole techno/dubstep/grime cocktail does seem to have similarities to the drum and bass scene a little more than a decade ago: burning the candle at both ends leaves few surprises to expect. Still, let all flowers bloom, of course!

On the one hand we’re living in great times now, virtually anyone can get their music heard and have access to the tools and there’s always a very colourful spectrum of new music appearing in some corner of the world, it’s unbelievable really. On the other hand there’s so much of it now – the rate of new releases appearing is evergrowing while the attention span of the average, overworked person is that of a hummingbird, I sometimes feel like people don’t have the energy to really focus on things anymore. In my case I sometimes feel it leads to all the “bright” things that shout for attention getting noticed in an instant, while things that might require a bit more settling into, often end up being completely lost at sea. Like you observe a traffic sign each day on your way to work, but never once stop to look at the beautiful tree behind it.

Ah well, making music for the sake of music is more and more exciting by the year, I don’t seem to get bored of it, but in terms of really getting it out there or ever earning a dime for it, things are looking gloomy as ever. Overall I try not to think about that too much now hehe…

A good attitude to have. To finish off with, who would you say have been your biggest musical influences? Those artists that you keep coming back to over the years and that have meant a lot to you.

Such a tough question each time, from among a whole lot of different acts I’ll just say A Tribe Called Quest. I remember being really impressed by the way they used samples, back when I was 15 or something, and I still find myself going back to their records every now and then. Certainly an influence.

For more info on Saine, check out his website at www.sainemusic.com. The vinyl edition of Long Time No See can be ordered from cymbidium.highwire.com, and the digital edition is available from all the usual outlets.

Where does the name Hitori Tori come from?

Well, it’s a long story but I’ll try and keep it brief. In the late 1990′s my friend and I formed a tracker-based electronic band called finch. After producing numerous albums together, which we never released, we abandoned the project and I moved to Japan. I was producing a lot of music alone at the time and really needed an artist name for my solo stuff. Maybe something in Japanese? Maybe another bird reference? So, I chose hitori (which means alone) and tori (which means bird). Hitori Tori. This name just made sense to me at the time.

Can you tell us a bit about the Ohm Controller that you’re using?

The Ohm64 is made by a small company in Texas called Livid Instruments. I discovered it online while looking for something tactile to control multiple instances of Renoise. I had been using a smaller controller made by another company, but I couldn’t take myself very seriously when playing a live show with it – especially since its components kept breaking. From what I could tell, the Ohm64 looked pretty reliable and sturdy. I also wanted potentiometers that were not infinity knobs – because those can be problematic in certain situations. The Ohm64 is an easily programmable blank slate, and I guess that’s what attracted me to it.

What exactly do you assign the grid buttons to? Are they always set to trigger different patterns in Renoise?

In my current set-up the grid buttons are assigned to do either of 2 things. 1) To select patterns in the Renoise song sequence (usually containing offset sample elements), or 2) to juggle short vocal samples in the background while Renoise is playing, using a Max MSP application called mlr. In the latter case I typically assign all the samples to the same group; allowing for more random style cut-ups.

How do you handle multiple Renoise instances and how do you separate the MIDI messages going to the different instances?

Once assigned, the mappings stay locked to the songs. MIDI communicates with all Renoise instances simultaneously and there aren’t any issues of conflict that I’m aware of. Incidentally yesterday I had seven instances of the Renoise application open at once and everything was just fine.

Once you’ve made a new track, how much preparation do you need to do before being able to perform a live set like the ones in your videos? In other words, how big is the step from finished Renoise track to live-performable Renoise track?

Actually, the funny thing is, it feels like less work is needed. I needn’t even finish the songs before performing these live sets. I usually play unfinished songs and just blend them into each other. If you’re like me, you’ve got hundreds of these ‘almost complete’ songs just sitting on your hard-drive that you don’t know what the hell to do with. Well, why not mix them into other unfinished songs and give them a better life, you know – instead of just letting them gather dust. Most of the tracks in my videos are incomplete sketches of songs mixed together to make complete songs. I just spend about five minutes before hand mapping out some faders and effect parameters, hit record on a video camera and then try to do everything in one take.

You seem to use different skins to colour code your Renoise instances. Do specific colours correspond to specific musical elements?

The different colours are used to help emphasize the different instances. That’s all – they’re purely aesthetic. For me those colours do not have any real relevance to song syntax. Perhaps for someone with visual synesthesia there are some deeper connotations.

All your projects seem to scroll by at a furious speed. What’s wrong with a nice and steady 4 LPB?

Well, I do like to be quite close to the canvas when I’m working on a track. After I get a basic workflow going, I’ll speed the song up drastically. It’s sort of like increasing the resolution of the track so that you can fit lots of tight edits into your patterns.

I’m finding myself less and less conscious of the speed I’m working at these days, but one thing’s for sure – my tracks keep getting faster. Speed! It’s like some weird addiction spiraling out of control. Maybe seeing those little numbers traveling upwards on the screen at that speed stimulates a part of the brain associated with visual processing and pleasure? I don’t know. Well, whatever the reason, the dizzying tempo helps me to stay on task and complete songs faster.

How did you first find out about Renoise?

For quite a few years I was running a sound tracker called Player Pro 5.9 on my Mac. This tracker was good, but had very limited tech support and eventually died a horrible death in 2002. Then I remembered my friend Dac telling me about a fast tracker type clone that was under development. He said that it would soon to be ported to Mac. I kept my eyes on the Renoise website and when the first version became available I downloaded it. I’ve been using it ever since.

What are your thoughts in general about using Renoise as a live tool?

Using Renoise as a live tool is getting easier by the day. I use it to DJ my tracker files. I like being able to drop out the drums in one track and mix in the drums of another. It’s certainly a step up from just mixing one stereo track into another one. Of course I’m personally waiting for the day that a proper XRNS file mixing app or console gets invented. I mean it’s not exactly practical having 10 instances of Renoise open simultaneously for your live set, but it’s definitely manageable.

While some creative thinking is involved, creative tweaking in Renoise is usually implemented pretty easily. The developers have made everything so intuitive and simple. I’ve never felt frustrated with mapping anything. I just push command ‘m’ and assign. By comparison, I was using the latest version of a popular DJ mixing program the other day and was totally put off by how outrageously annoying the MIDI configuration set-up screen was. I felt totally restricted. I couldn’t even use some features of this DJ program because only ‘sponsored’ controllers were allowed to use those MIDI assignments. Sponsored controllers only?! Ha. Ridiculous. Makes me proud to support companies like Renoise that are not exclusive to particular brands.

Did the 2.6 release with the new scripting support influence the way you use Renoise with the Ohm?

No. But, I think I’m heading in a different direction right now. We’ll see.

I like the Bird of the week feature of your blog. So, as a final question: what’s your favourite bird?

The Tawny Owl. Because it lurks ominously.

Let’s start at the technical beginning. How did you get into tracking music on computers?
Kind of chance I guess… a boring summer, an internet connection and I knew about modules. I had this friend. Once, I came to play at his home and he made me listen to some modules. I didn’t care back then about composing, I was just listening at them. Then, summer 99, I had nothing to do at home, decided to download a soundtracker.
So we’re talking Impulse Tracker?
Well, for me its been IT2 for some months then FT2 then going back on IT2 … IT2 at first looked scary to me, but then, I noticed that it2 > ft2. (anyone can say so… its something well known even if some others wont admit it)

Did making the switch to Renoise open the creative floodgates for you?
Hmm not necessarily. You know the deal – when you’re used to make music in ONE AND ONLY application, it’s getting hard to switch to an other one. I was so much used to IT2 than anything looking differently was a mess to master. I had to figure things out… struggle with it. But then, after that, the possibility to use VSTs opened gates to me. Weirdly, it also gave me headaches
Too many choices?
Yes, that too.

Was most of this album made on Renoise?
All composed in renoise 1.2 (no, not kidding, 1.2).
So that’s a while back now, 2004?
Indeed.

Renoise was somewhat ‘young’ back then, still morphing into the stable machinery we have now. Did you find any limitations working to your favor?
At that very moment, not at all… how could I’ve been finding them? I mean… I had new things to discover: synthesis, “mastering”…

Was the music heavily produced, or was it something that flowed out easy for you?
Well, I have to explain the situation back then. I was living far from my girlfriend, far from my family… Well.. Not so far. But, far enough not to be able to see them when I wanted too. And I had this job, working as an architectural modeler… With heavy hours… So each moments I was feeling “okay”, I was making music. Some beers helped me a bit. I can’t really remember if it flowed that easily. I remember I was in front of my keyboard, making the bleeps
So it was more of a slower sporadic cathartic process?
Indeed. Completly cathartic. Thats when I started to express my sadness through a “fake joy”, if I can put it that way…

Musically speaking the speaking the album has a lot of delicate ‘small’ sounds on it, was this a conscious choice in honoring the tracking heritage?
Actually, no. An old habit To make everything out of small pieces. Of course – it comes from the tracking heritage! But it’s not made to honor it.
More of an efficiency thing?
Just an old habit

Stylistically your music has had the tag ‘naive’ put to it, and it certainly seems to be the case here on this album. What’s this whole ‘naive’ thing about for you?
It’s about a different way to compose music, just not formatted to be “mainstreamly accepted”. Working on progressive ideas…

Why pink?
Because it’s the best color to express the “naive feeling” ? Because it’s cute… Because I like pink …and why not afterall?

I’ve heard people refer to your music using that troublesome genre name of IDM. Most artists who get this description tend to be dismissive of it. Is this something you’ve had to deal with in sharing this music?
Everyday. I just somehow hate it to be considered as IDM.

There’s a tasteful sprinkling of glitched percussion throughout the album. Unfortunately, many of the enthusiasts who collect non-mainstream music move in collective taste fads. Glitch as a sonic element seemed to be very fresh and prevalent around the turn of the century, but now people are moving back into nostalgic revisions and mutations, for example breakcore and dubstep. Is this a concern for you?
Well, the glitch comes from the tiny pieces of sounds. (explain more your question plz )
Well I’m trying to imagine people listening to this for the first time, and it would be a shame if I saw people going ‘ah this is glitchy, I’m so over glitch’.
AH yeah, these people. If they enjoy following whats “fresh” and “not fresh”.
Does that bother you?
Of course it does. I can’t understand people who are just not considering a moment – it’s MUSIC AFTERALL. A music is not GOOD because its ACTUAL. Its GOOD because IT IS. For example, breakcore is old as hell. So what? They should be over it as well. But NO, someone said its fresh so now, it’s fresh again. And maybe glitch will be fresh again in 2 years. To be said – it’s not really important.

Why has it taken so long to get this work out there?
You mean, to get this album released?
Yeah.
Ho well, regarding the name of the album – it wasn’t making sense if it had been released right after I finished it – it had to get older… Ok. I’m lying The label is having trouble to see its path through this hard world that is the music scene. The label owner, Vincent, is a great guy… He’s believing in any of the artists of Apegenine, but it doesn’t mean people will follow. And thats great, he wants to release the music he likes and not the music that will be liked! But so what? You have to find money, make choices… Some releases had to be released before mine… It’s like that
So you were OK with waiting?
I was.

Would you change the album at all now if given the chance? Or does it hold up for you still?
This album is about my life at this very moment. If my life had been happier during the making of it, it wouldn’t have sound the same. I caught a moment, expressed it. Somehow, my music changed, but its still “about myself”.

In recent years the industry has been undergoing challenges to the old established system of making money. Do you think going with a Label still has good opportunities for an artist starting out?
Many people are confounding labels and majors. A label is a label is a label. I see it as a family. You make the opportunities… The problem is more on the audience side.

Do you think people are still interested in CDs?
Are people still interested in vinyls? NES? Old computers It’s fetishism. I know many people who still are enjoying buying an object.

A lot of your music is freely available online, including newer music that has an ‘updated sound’ to it compared to your album. Is this part of the marketing of Kaneel, or an unavoidable necessity that every artist faces these days?
Yes, it’s marketing. I’m releasing my music for free because it makes me look cool and generous. Because people nowadays tend to think that musicians doing glitch are not GENEROUS. Because they make their music weird so only esthet are listening and understanding it. (:DDDDDDDD°

Speaking of self promotion, it seems you’ve either actively or inadvertently made a minor celebrity of yourself in the Renoise community via some rather entertaining YouTube videos. Additionally you’ve been sporting an alter-ego named Monsieur Baguette who has a tongue-in-cheek breakcore comedic mission with a string of free releases. Has this all been a ‘bit of fun’ or part of a larger artistic plan?
“Bit of fun.” …Related to the Renoise irc channel. I had to do it

Where do you see yourself headed with your music now?
Completly nowhere of course. That’s frustrating. But it also opens a door. I’m free to do whatever I want with my music and whatever moves I want to promote it, make it evolve. So at the moment, I don’t have any label commitments, I AM FREE… (whoohooo)

Speaking of Labels, I see you have started your own – Petite & Jolie. This seems to be continuing the ‘naive’ theme but with other people’s music. What’s going on here?
That I want to make evolve as half-a-label/half-a-netlabel… Petite&Jolie is born in my head years ago. At first I wanted to make a compilation only about cute music, naive music. Pink? Kindergarten even… Anything that could be “CUTE”. But eventually it was aborted. And years after, it has relaunched as a netlabel, just because I think it was somehow “lacking”.
Is it going as planned?
It is. We got supporters, some reviews – we even made it on phlow (the official netlabel magazine) while it was our first release. So yeah, it’s going as planned, even better

What’s your message to the world?
Hmmm, there is this message on my website: “Make it happen, make it last, make it work and appreciate this moment because it’s already time to go back to real life work…” I want to remain young, as us all. But real life is trying to get me back to it. So I have to remain a kid inside my head and still, accept the real life how it is, be mature.
Duality.
Yap. You know I suffer from that

Anything I missed?
A beer.
* mr_mark_dollin slings kaneel a Fosters.
Ho and the veggie bbq.
Absolutely!

—

Get your copy of “I’ve Sketched It A While Ago” here.

Michael W Dean and Chris Caulder have put together useful free resource that beginner Renoise-users should have a browse through. Although there no references specifically to Renoise, many of the general production approaches apply. In particular, there are helpful sections explaining the ins and outs of computer hardware, as well as useful tips on establishing a web-presence to promote your newly created works.

So if you’re starting to get the knack of Renoise, but want to know what else you need to be looking at, this is a good place to start.

So I set out to try and fake the sound somehow using combinations of VSTs. Predictably, I couldn’t exactly get it, but during experimentation I developed some processes that really improve the ‘wet’ characteristic of delays and reverbs, especially with stiff repetitive input sounds. Here’s a summary:

Firstly, I really recommend EchoLIVE as a delay plugin, it’s probably the best free plug I have used for getting lush authentic analogue style dub delay. In conjunction with that I nearly always use Moneo for pre/post width and/or channel swapping.

What follows isn’t dependent on those two plugs, in fact just using Renoise’s native effects you can do wonderful things. To do this you have to use a send channel – in the ‘send’ chain we are just going to effect the ‘wet’ characteristic of the sound. So if you’re using the native delay, click ‘mute source’, and in the mpverb mix the dry fader to 0%.

Now try some of these send chains:

- Phaser —> Delay
- Flanger —> Delay
- Phaser —> mpverb
- Flanger —> mpverb

…And so on. The idea is to modulate the incoming signal in a way that makes the ‘wet ambiance’ echo out naturally, but uniquely each time there is an input sound. So even a stiff snare drum sample, for example, that is used all the time at the same pitch can have a echo or verb behind it that doesn’t sound stiff and machine like. This can make very ‘cheap sounding’ reverb plug-ins sound quite usable!

Naturally, each composer will prefer a certain sound governed by what they set the parameters for each plug. However I have a few recommendations. My stock standard usage usually ends up look like this (depending on the type of input sounds and the song’s mix):

For Delay:
- SEND 1-50% —> Phaser (500hz-3khz crossover, medium LFO, 50% effect, 0-25% feedback, 0-3% width) —> LP Filter (Moog No Rez, 1-9khz) —> Delay (all wet, length+feedback suitable to mix and instrument expression) —> HP Filter (Moog anywhere between 3-12khz) —> optional Phaser (lite) —> Width —> SEND 1-10% to Verb Channel.

For Reverb:
- SEND 1-50% —> Phaser (500hz-3khz crossover, medium LFO, 50% effect, 0-50% feedback, 0-3% width) —> LP Filter (Moog No Rez, 1-9khz) —> mpVerb (all wet, length+feedback+pre+cpu-quality suitable to mix and instrument expression, cutoff 2-5khz) —> HP Filter (Moog anywhere between 3-12khz) —> optional Phaser (lite) —> Width —> SEND 1-10% to Delay Channel.

See the example XRNS for how these sound.

Notice that I’m using a pre-LP-filter and a post-HP-filter either side of the ‘wet ambiance’ effect – this helps to narrow the echo into a sonic-region that sounds more authentic, architectural or distant. There’s nothing worse, for example, than an overly bright reverb sounding cheap; or, a delay or verb mashing up a mix with muddy kick drum and bass sound. Ambiance, especially when it’s long and deep, tends to speak best between 500hz to 12khz, but many genres, especially dub, get narrower than that again. Your tastes will reveal themselves with experimentation.

There are other optional and creative things you can obviously put in front of the delay/verb to get astoundingly cool spatial sounds. Easy good ones are: Leslie, Pitch modulation, Stretch, Buffer mashups, Reverser, Long delay loops, slow chorus, Formant filters, or anything that has workable modulation in it. You’re basically limited by your imagination and the plug-ins you have at hand!

I’m keen to see if anyone else is using this technique or anything similar to it, so post back here if you’ve tried it out. Otherwise, enjoy putting some ‘magic delay and verb’ into your songs.