Jack Moffitt from Sydney’s Rock Pop Soul band The Preatures on Clearmountain’s Domain
So, this is a huge plugin. I’ve really taken my time in isolating/experimenting with the different elements while paring that with full-tilt experiments into the randomizer (which I love, especially when I’m writing or trying to conjure something off the wall). I love the delay, the Blur feature is fantastic (I kinda wish there was a function like this for the whole effect – there’s something magical happening behind that fader), and have found myself using the Apogee studio reverb – on its own – on a send for elements I’ve been sent in mixes where I don’t immediately feel any ambiance around them. Principally because it’s a great sounding space, there’s something alive in the top end that gives things humanity/perspective. I’ve also been compressing it / distorting it and blending it back to fill out vocals especially for BGVs or group vocals (huge stuff); but also because there’s a transparency to the reverb that is more perceived than heard.
The pitch component in the reverb is probably my favorite feature – I’d been chasing a sound, since before I sat with Bob and he then inspired in me, and Domain put me right there. Something about the pitching algorithm has nailed what I hear when I imagine sending vocals/instruments up/beyond/behind that source material. Especially for vocals but also for anything chordal, because I get to really play with new harmonic detail/density (and it’s addictive, the plugin should have a ‘Meddling Timer’ that stops anyone from going down a rabbit hole… or I should learn to curb my meddling).
Having sat with Bob and felt first-hand the (often all-encompassing) extravagance in those effects, yet seeing how a particular subtlety can net that largesse into something sublime, I felt comfortable with the layout/theory behind the layout. I’m more inclined to live in the parameter screens over the visualizer.