- Makes Stereo Out of Mono by Copying the Mono Source, Pan Both Opposite (Hard Left/Right) and then Add a Delay of About 20ms to 25ms to 1 of the Copies (Too Short Delay Cause Phase Issues when Mono), this Applies More to Non Percussive Sounds as 20ms to 25ms May Sound as an Audible Delay for Percussion
- the Pink Floyd Guitar Sound is Often the Printed Tape Echo, Usually Dotted Eights or Triplet
- to Shape Low End he Might Hi-Pass e.g. an Acoustic Guitar and also Not Frighten to Boost the 10kHz on a Snare (Up to 16dB for Snare and 10dB on Overheads) if Necessary Because when the Top End is Right the Bottom End Takes Care of Itself
- Used to Make Wide Vocal Chorus by Recording a Double at a Slightly Lower or Higher Pitch, i.e. Similar to as Changing Sample Rate or Tape Speed to Get the Vari Speed Effect
- Later Used a Lot of Vocal Triple Tracking so he Could Put the Main Vocal to the Centre and Pan the 2 Doubles Hard Left/Right
- Prefers Plates Over Chambers, More Tweakable and Adjust the Reverb Time
- Always Uses Pre Delay on Plates, i.e. Even States that the Pre Delay is the Most Important Part in a Reverb to Increase the Feeling of Space (Instead Increasing the Reverb Time)
- Used Only 1 Plate with Delay on Dark Side, Slap Echo on Money is a BTR Tape Machine
- Abbey Road had a Fixed EQ Before Going into the Chambers (Less Necessary for Plates)
- Started with Printing on 2 Track Tape, then 4 Track, then 8 Track, then 16 Track, then 24 Track, then 2 x 24 Tracks Synced Together, then 48 Track
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