Hmm… owned one now for a while. Sold it, then bought it again, alas. There’s just something gravitational, magnetic to the H9 Max.
A wish, for long echo/delays and reverb combined:
I don’t know if the delay can be made longer than 3 seconds, but some kind of ambient delay should go past at least 5 seconds plus, 6 or 8 seconds, to produce accurate reproduction of the “Frippertronics” effect played by Robert Fripp hooking up 2 Revox tape recorders for a lot of seconds between repeats… but
1. Let’s say you have a 3 seconds delay, 50 % dry wet mix, and a LOTS of repeats/feedback. Then the first repeat should have almost 0 dry/wet reverb on to it, the second repeat 4-5 & dry/wet reverb on it, and the last one 100 % wet reverb on it. Mind you, that you can’t stack the alreadye reverbed repeat into another reverbed repeat it should be the first one that is gradually acceleration dry/wet mix ONLY, and not the type of reverb. Then you mimick that you move away from the source, like in a church or cathedral. Like .. the one that played the first phrase sits further and further back… and …
2. The reverb should also gradually increase stereo spread with each repeat. The first repeats maybe just a faint L&R spread in stereo, or entirely in monom, in the middle, but that last one at 100 % wet reverb mix should have huge monstruous 3D spatially panned har L&R to give a huge stereo spread, although way in the back.
I do think this would work in super long delays only. A musical example of this is the old prog iconic work of Mike Oldfield and his “Tubular Bells” recording. At the final part of the first side, where the introduction of all instruments are told, the announcer moves on to the next, and the first instrument is heard more faintly but with more reverb, then when all are presented they sound like “overdubs a thousand times”.
Used with vocals, voice, I think one could very well end up sounding like a giant stadium of football (soccer) fans chanting.
