Robin Guthrie (Cocteau Twins) tone?

[flamethrower]

I'm really digging Robin Guthrie's sound - can anyone help me nail his signature tone on pretty much any Cocteau Twins CD.

It's clearly chorus and delay . . . but how much of each? Are there multiple choruses and delays? Is there something else going on?

[GuyaGuy]

he's known for using a Tokai Strat copy, a Jag, and a LOT of overdubs.
in one interview in Guitar Player he said "usually i put in as many layers as it takes--and then add one more!"

fx descriptions here:

http://www.cocteautwins.com/html/med.../tg_may96.html

basically harmonizer + vibrato for the chorus sounds.

[red_riviera]

Great sounds.

I believe he also used semi-hollow Gretches and the Roland Dimension rack unit (forget the name but it's the same circuit as the Boss DC-2 Dimension Chorus).

[Seth Carmody]

The Dimension D rackmount?

With a DC-2 Dimension C and some delay I could nail the Carloyn's Fingers intro for instance and various other rhythm parts from Blue Bell Knoll songs...

[seifukusha]

tokais are awesome. he also uses a gretsch for the violet indiana stuff

[seifukusha]

Originally posted by GuyaGuy
he's known for using a Tokai Strat copy, a Jag, and a LOT of overdubs.
in one interview in Guitar Player he said "usually i put in as many layers as it takes--and then add one more!"

fx descriptions here:

http://www.cocteautwins.com/html/med.../tg_may96.html

basically harmonizer + vibrato for the chorus sounds.

i like how he says he just likes to use different pieces, and he doesnt save presets. nick mccabe said something like that, and i feel the same. also, no reverb, how cool is that?

[red_riviera]

I'm bumping this because I've been listening to them a lot lately and have dug up the following:


"Let me see, well I had to buy strings recently and, hey, you can't just buy one, you have to buy six, otherwise the guitar sounds all weird like somethings missing...OK, that wasn't fair.. So, well I bought a new pedal, a Boss RC50 a while back but it's been sitting in it's box waiting for me to RTFM.. I haven't really the income to justify buying many new toys, really what I need to do is concentrate on replacing so many of the things I use which have become somewhat unreliable, obsolete or just plain beat up from lugging them around everywhere. A nice new mic amp would be nice, I had to swap the last one I had for food."
-Robin Guthrie, October 14/06 [SOURCE: CocteauTwinsForums.com Post]

"No the better question would be, which guitars that you own have strings on them? OK, I once had a considerable number of guitars, now that I think about it I think I was convinced if I bought more I'd eventually be able to play them better. For the same reason I invested in lots of books about learning french. Needless to say they all said the same thing, some stuff about verbs and other tricky things, so I had to rely on my ability to look utterly stupid and lost so that the unsuspecting french public would take pity on me and show me how to get home or which aisle the toilet paper was in and other such necessities. As for the guitar thing, well I take the same approach and when I stand on stage and seem to get away with it."
-Robin Guthrie, October 14/06 [SOURCE: CocteauTwinsForums.com Post]

"I use an Electrix repeater [for live looping]. It works...it's unstable and the MIDI implementation was written by a sped. I think it's Canadian but that may be a coincidence. I've been through all sorts, the original jam man was great but clicked on the loop if you didn't get it just right, something I am familiar with. As I said in another answer I have an RC50 but haven't fired it up yet. On paper it looks great."
-Robin Guthrie, October 14/06 [SOURCE: CocteauTwinsForums.com Post]

"I've been sitting here trying to work it what these [guitar] tabs mean and I just can't seem to get it... Either I'm really useless at reading tabs or it's not what I played. I suspect I'm useless at tabs, I've never been able to write things down for the guitar. Having said that, though, it seems like a nice tune, maybe I'll use it for something else... If it's any help, the guitar part for wax and wane is, er, very simple.. simple enough to play without moving your fingers too much so that you could concentrate on keeping your hair sticking up....oh, and no wah wah, I'm afraid."
-Robin Guthrie, February 27/06 [SOURCE: CocteauTwinsForums.com Post]

"[With Victorialand] I used an acoustic guitar, which I still have which was made for me by the Kinkade brothers in Bristol, England, where Russell Fong was learning his craft at the time. It's quite simply the most beautiful acoustic guitar I've ever played. True, of course, is the fact that it is processed to shit, using, mostly, a unit I liked at the time called and Eventide SP2016. There is as well Richard Thomas who plays soprano sax, like an angel would, tablas, played by Richard also, some beatbox, a Roland Compurhythm CR8000 and lots of other processing."
-Robin Guthrie, February 4/06 [SOURCE: CocteauTwinsForums.com Post]

"[...a bass player with a jetglo 4001...he would run his guitar into two 300watt Carlsbro Stingrays via digital delay/reverb and boss chorus + overdrive.] Curiously similar to one Mr William Heggie - Ibanez effects though.......and we couldn't afford two."
-Robin Guthrie, August 28/05 [SOURCE: CocteauTwinsForums.com Post]

"I take it [recording equipment] to the local market each week and barter it for sheep (or at least sheep parts) and medicine for the children....I believe the masters for the albums that I remastered had been stored in a sub basement in venice or perhaps the front lobby of the Alfred P. Murrah Federal Building in oklahoma...nowadays I put my faith in a loving higher power who has knowledge of 24 bit file formats.... and I use what's left of my equipment to entertain y'all."
-Robin Guthrie, September 6/04 [SOURCE: CocteauTwinsForums.com Post]

"...the reason for having a go at drum machines, especially in the 80's when the whole idea was pretty young, well as far as programmed beats and sampled sounds were concerned there wasn't much choice, the beloved 808 was a stepping stone to 'better things' as digital was the key word at that point...better an really crunchy horrible 8bit Fairlight sample than a fat analogue 808 kick in 1982/1983 trust me. The sounds which the 808 became famous for were dirty, malprocessed sounds by dj's who inadvertently overloaded their desks and people who used to put the drum machines through fx as I did but as I've mentioned before, perhaps in another thread, when we used this box for 'garlands' it was way more wimpy than it should have been....many reasons for this, the people we worked with were very 'knowledgeable' and I had just turned 19 and didn't have the confidence in myself at all to, as I've stated before, play our drum machines, a DR-55 Dr.Rhythm and 2 Soundmaster Sr88's through guitar amps, fuzz(on/off) and reverb (spring) from the amp. Most of the time it was HH amplification but I also used some white and pink noise generators that I'd built myself to thicken out the sound....(or make it unlistenable depending on if you were a 'knowledgeable person' So for me, always a shrinking feeling, even after 22 years that ' Garlands wasn't quite what it could have been.....But it has to be said that during the later period of the CT, when drum machines (god bless 'em) per se, we being phased out by samplers and the programming of such samplers was by MIDI keyboard, I really wasn't interested in the computer alternatives of the day (as far as music was concerned) (fairlights then cost about $33000...The awkward combination of computer and hardware I found quite distracting and tried to stick to more 'musical' composition tools, such as the Akai MPC60 and the EMU SP1200, where I could, sample at will, but of course, not save any for posterity....... still better 12 bit than no bits, eh? The long and the short of it is that most of CT's drums, I programmed were on the 'not quite' best of equipment of the day and are burned to tape. Having said that however I must point out, if even for my own sanity, the beats and rhythms I put on Cocteau Twins records remain , to me, someting very vital."
-Robin Guthrie, July 28/04 [SOURCE: CocteauTwinsForums.com Post]

[red_riviera]

"...that seems to change everytime I play as I haven't really found the ideal [looper] unit - I use a jam-man, an electrix repeater or a boomerang depending what works......[reverb] eventirde, [delay] echo-pro, and [piano] steinberg grand [while recording Imperial].....[and for Violet Indiana performances] flextoneII amp and blue and green line 6 stomp boxes.....[during the intro to I Wear Your Ring] well, it's a mixture of my guitar and a roland JD-800, sort of..."
-Robin Guthrie, May 26/04 [SOURCE: CocteauTwinsForums.com Post]

"...A kissed out red floatboat...ok.. no synths, it's all guitars and smoke and mirrors...the sort of synthy percussive sound that runs all the way through and is all on its own in the intro is a bunch of filtered delays triggered from the drums. I used a lexicon PCM70 for this..(same with the 'synth' rhythm thing on blue bell knoll)....the filtery pulsating wah sound which appears from the choruses to the end, well the exact guitar I can't remember but the jist of the sound is a triggered gate, triggering 16th notes from the metronome output of the sequencer, an emu sp1200, then wahed....the four guys in anoraks who always used to stand in front of my pedalboard and take notes and photos during the set (and nudge each other and look smug when I made a fuck-up) will know that I replicated this sound live using the same gate (a drawmer ds201) and an akai mpc60. The wah was a roger mayer customised crybaby....the acoustic guitar in all probability is my kinkade as mentioned in another answer, probably treble or quadruple tracked, compressed, delayed....The little riffs at the end of the verses were played on a fender electric 12...the sweep sound which crops up now and again is my broken (and I will never get it fixed) boss bf2 flanger...(broken as it goes into a very destructive oscillation if you wind the feedback up all the way - I have a couple of others which don't)...."
-Robin Guthrie, December 5/03 [SOURCE: CocteauTwinsForums.com]

"[List of drum machines used per release] garlands : roland tr808, lullabies : linn lm1, peppermint pig : linndrum, head over heels : emu drumulator, sunburst and snowblind : emu drumulator, treasure : : emu drumulator modded with the rock chips set (samples of john bonham), aikea guinea : roland tr707, victorialand : just a roland cr78 on one song, echoes in a shallow bay/tiny dynamine : roland tr707 and tr727, blue bell knoll : emu SP12, Yamaha RX5, heaven or las vegas : Akai MPC 60 MK1 (this is the one designed by roger linn) , Emu SP1200, four calendar cafe : Akai MPC60 MK1, Roland CR1000, milk and kisses : Akai MPC60 MK2....Of course there were usually other sounds triggered, but for the most part these are the machines used. For all of the later records, the machines used were sampling drum machines (ie the Akai's and the emu sp series) therfore the machines didn't actually contain the sounds used. The sounds came from 'a variety of sources'..."
-Robin Guthrie, December 1/03 [SOURCE: CocteauTwinsForums.com Post]

"...it should be noted that the 808 was only used on garlands with a few samples of one on blue bell knoll"
-Robin Guthrie, December 1/03 [SOURCE: CocteauTwinsForums.com Post]

"OK The recording of Blind Dumb Deaf was a little different to most of the later Cocteau Twins songs as it was our first album, we were studio newbies and didn't have the time or experience to experiment at all during the recording process. I wasn't really the producer (I didn't even know what a producer was at that point...) so all the work on guitar sounds as such was done before the band entered the studio from playing gigs and gathering what equipment we could.. Garlands, the album, was essentially recorded live in the studio with myself and Will playing together and Elizabeth overdubbing a few vocals later, very much the way most bands record..my guitar setup was this : a Kawai KS-11-XL electric guitar followed by an Electro-Harmonix Big Muff Pi, a Watkins Copicat tape echo (3 button model), an Electro-Harmonix Clone Theory and then into another Watkins Copicat tape echo (4 button model) - this went into my amp, a Maine combo (60w 2x10 never seen one since..) . The bass was a Rickenbacker 4001 played through a Ibanez UE-400 Multi-Effects unit into a carlsbro stingray bass combo....There was one disappointment at the time which was the drum machines that we used at that time, a Boss Dr Rhythm and a Soundmaster SR88 played through the distortion channel of a HH IC100 combo were deemed unsuitable by the engineers and ivo (the grown-ups) and were replaced with the "more proffessional' (at the time as it had just been invented) Roland TR808... This made the drums sound very clean but weak, lacking the power that we were used to in concert.. I mean the stuff we used sounded way more like (what became) hiphop than electronic. But in spite of the lack of distortion on the drums the Garlands sessions were a pretty accurate recording of how we sounded at the time when we played live...."
-Robin Guthrie, November 20/03 [SOURCE: CocteauTwinsForums.com Post]

"heaven or las vegas: As said before, for that whole album I mainly used the Paul Reed Smith and my 1959 Fender Jazzmaster although for that song I played a customised Levinson (a blue jazzmaster shaped one with a chandler maple neck) for the slide solo...The clean guitar parts were the Paul Reed Smith played through a Marshall 9000 series tube preamp directly into the board with my fave Lexicon pitch shift +10/-10 cents to spread the sound to stereo, followed with a little Roland Dimension D and echo from the TC2290, synched to the bpm, the chorus, more distorted guitar part was played through my Gallien Kruger preamp (channel 2) then the same sort of treatment, tweaked differently..I should have said before but I normally would compress the guitars to tape either with a Urei1178 or a pair of dbx 160x's...oh, and usually lots of double tracking...Simon played bass on that one, I can't remember which bass exactly (probably one of his precisions) but I think he played it through a rocktron bass preamp which was a favourite at the time. squeeze wax: strummy acoustic guitars, not fun to record at all but I was playing at that time one of a handful of acoustics none of which are particularly sexy, a black yamaha, a washburn 12 string and a red charvel flattop - my fave acoustic is a custom made kinkade brothers (made for me in 1995 for victorialand by the kinkade brothers in Bristol - where russell fong learned his craft) though I'm pretty sure it wasn't that one. I do know, however, that all the acoustics would be doubled or trebled then compressed to thicken the sound. The sort of funky guitar is a 1959 Fender Stratocaster played through a Tom Sholtz Sustainor and then into the board with a touch of all the same stuff I wrote in the last paragraph.. the fast tremelo guitar sound was created in the mix with a noise gate...S'funny I remember all the pre-rehab recording as if it were yesterday and the later stuff is a little more vague. I blame the sobriety.... Most of that equipment is still in my studio just waiting for an opportunity to get used but, to be honest, when I play through those things it sound so.. cocteau twins that I tend to avoid it...save it for a rainy day, I suppose...."
-Robin Guthrie, November 14/03 [SOURCE: CocteauTwinsForums.com Post]

"[Pitch The Baby]ok.. the pulsating stuff : was my green paul reed smith guitar (cause I did most of holv with it and my '59 jazzmaster) played through a gallien kruger preamp straight into the board. this was then treated with a lexicon 480L (pitch shifted +10 cents and -10 cents to make it stereo) and delayed with a yamaha d1500 in sync with the bpm of the track.. next the fun bit .. I inserted a drawmer ds201 dual noise gate over the stereo guitar and triggered it externally from click track playing 16th notes... then I rerecorded the track back from tape through a cry baby wah-wah which I moved manually (Ie with my hands) ..next: the clean guitars - same guitar through a tom sholtz rockmodule preamp into the board, a little roland dimension d and same yamaha delay....and the bass was a '57 precision played through a nomad bass box....sorry not to be more specific...oh, and there are no synths...."
-Robin Guthrie, November 13/03 [SOURCE: CocteauTwinsForums.com Post

"...the violaine gtr- was doubled by....me..at the time, cutting and pasting was something I couldn't afford at that time..(Well who knows what a recoed with Liz would have been like?
Having said that , I managed lots of the (so called) modern prodiuction techniques....! (not my editing)"
-Robin Guthrie, September 24/03 [SOURCE: CocteauTwinsForums.com Post]

"[Piano sounds in Twinlights]..it was a grand piano actually. we went specially to a studio that had one cos i said i weren't gonna play some lame digital electric shit....so it sounds that bad huh? oh well.....must have been the microphones."
-Simon Raymonde, October 7/04 [SOURCE: CocteauTwinsForums.com Post]

[red_riviera]

"we did use som roland ones on and off but the treasure sound was from Emu-Drumulator's SP12. it had those little pads on with each drum sound assigned to pad. it was quite basic compared to the shit you can get now but it had charm! it was designed by roger linn, who also had a hand in the next one we used..on BBK , it was made by Akai and it was called an MPC60 ( i still use this now!)...robin did all the drum programming for the band. That was his thing, and....well nothing."
-Simon Raymonde, January 31/03 [SOURCE: cocteautwinsforums.com Post]

"well well! time to educate and elucidate. after all these years you're finally gonna find out....you asked for this....and btw Will was an outstandingly good bass player, much much more of bass player than i ever was...very intricate and very rythmical. robin and i swapped around yes. not constantly, but when it felt like it was needed. my potential as a bass player? not for me to say, but i never thought of myself as solely that anyhow so i was never bothered to be any good. I never practised, and never had an instrument at home. I always figured that i wanted to be excited to play the bass when it was important ...ie at the studio...and it's not an instrument you can have much fun on by yourself. I always just wanted to play something on the tune that i enjoyed to play, to record, that contributed something to the overall sound. calfskin smack actually as you'd mentioned it, was one that i wrote on the keyboard first, then recorded it with robin playing along on guitar then I put the bass on after. This was often the way, in the older times, we would sit with me on bass and robin on guitar and write that way, and only occasionally would we swap, like on Eggs And Their Shells was one i wrote on gtr and robin played bass on...but then on BBK things developed more as piano and vibes crept in, so i began to start more things on piano, and bass would be added later after the skeleton track was done. The actual track Blue Bell Knoll was one we swapped on, him on bass, me on guitar, but nearly all the time without exception Robin would do all the fuzzy gtr tracks and I would just noodley melody stuff that you can't hear much anyhow!! We wrote over 100 songs i think so there are a ton of different ways we did this stuff, cos otherwise we'd have got so bored. Also when we were in a mess drug and drink wise, we'd often find ourselves at studio at totally different times, and it'd be like, ' ok i've done a piano bit, but i can really hear some guitar on this, can i be bothered waiting for robin to come in? no not really, i'll put something down as i feel inspired...kind of thing' and for him, exactly the same. He went to france once with a tape machine and did a whole bunch of tunes on his own, like Half Gifts, Rilkean Heart, while I was back in London in our studio doing things like Primitive Heart and Calfskin Smack myself....so it was for the most part evenly distributed, and that's why we always just say 'written by cocteau twins' or else we figured we'd just spend too long submitting seperate forms for each bloody song to the publishers etc...other things i can remember while i'm here and you're in inquisitive mood....'Ups' was something i loved recording for example, cos i get to have this thick fluid bass playing all over, about 2 tracks of lo and chord-y shit i think, which actually drives the track along...take it away and the song don't really exist, whereas sometimes for the track you're just kind of helping it along.. what else...gosh i'm on a roll now.....like going down memory lane this....Eperdu, now that was one RG did the guitars in France with the ocean lapping outside, and then when he played it to me back at september sound,i just found it very inspiring to play basses on, and in one afternoon we had it finished, very magical, and then of course Liz can get inspired hearing these little pieces go from just little pieces to full complete movements. What else...Alice was all written by me on piano first. ( god i love that tune)...Robin wrote Bluebeard music 100% all himself...Quisqose we wrote together standing up with a Bass VI each duelling. Rococo we wrote live, him on gtr, me on bass, took about 10 minutes. Which ones did RG play bass on....? other than the ones we already mentioned, well the whole of HOH of course! On HOLV he wrote the bass line on Pitch The Baby ( i loved playing that live i have to say!), in fact he did all the music on that one, I did the guitars (they sound like keyboards) on 50-50 Clown, he did the pulse bass and the slightly buzzy guitars in the middle 8, and i did the hi real bass....and on M&K he did all the music on Half-Gifts, (not sure if it has a bass line at all?) mostly all of Rilkean Heart, and bass on Violaine, and with a few exceptions i am sure due to bad memory, that was about it. Liz wrote the music on beatrix i remember that! Oh yeah Robin did Cherry Coloured Funk, yeah i am sure he did. Most else was shared duties, but oh yeah remember that Robin did ALL the drum programming which took alot of time and effort and this was often the starter for us to begin a track....'what kind of thing shall we do today, fast or slow, heavy etc etce' and then he'd come up with something beatwise and we'd kind of pick it up from there. I am getting all nostalgic now.......we figured if it was difficult then it wasn't any good anyway and we'd go to the movies. we HATED to TRY too hard. maybe we was lazy or something, but if we had to sit and scratch our heads as to how it could happen, we thought, fuck it let's go get chocolate. we did spend a long time pissing around with the Sound of things. And from the inspiring sound would come a good tune. Mostly. that sounds very arrogant, but i don't mean it to. What I mean is that musical creation does not have to be this furrowed brow and pained existence. The crap that was going on outside of the studio walls was painful enough, here was our refuge. OUr place to be ourselves for five minutes. Outside was a struggle, why would we want to make the studio a mirror of that? Does that make any sense? I have had a couple of vodkas so maybe im full of shit i dunno."
-Simon Raymonde, October 3/02 cocteautwinsforums.com]

"Violaine was a song where we swapped, and I played the note-y melody guitar parts and robin played the bass, so just goes to show...nothing for granted."
-Simon Raymonde, October 1/02 [SOURCE: cocteautwinsforums.com]

"in the old days of 8 and 16 track i used to play mostly chords, three note mostly, like strumming a guitar really, Pearly Dewdrops for eg, is kind of a chord with a melody at the same time. Then I got a 5 string bass which made life easier, and with Iceblink Luck, Carolyns Fingers etc, i think I did both chords and a hi note melody too, though when i did it live i managed to incorporate the two, a challenge but kept my fingers slender! then when i felt it was becoming a bit cliched to do it and every one else in the world seemed to be playing chords I went the other way and used very minimal dub-by kind of bass lines, occasionally enhanced by a counter melody with a hi bass. That was quite boring wasn't it?"
-Simon Raymonde, September 30/02 [SOURCE: cocteautwinsforums.com]

"...no gold hardware on my jazzmaster-so I'll keep that, don't have a country gentleman, do have a nashville-so I'll keep that, er, sparkle jet, it's old, you wouldn't like it-so I'll keep that as well.."
-Robin Guthrie, May 22/03 [SOURCE: cocteautwinsforums.com]

[Fender&EHX4ever]

Praise Jesus! Finally a thread about some of the greatest music ever made on this planet.

You've given me more to read than I can respond to at the moment, so allow me to just add a short anecdote for a post.

The fact that Faye Wong and China have embraced Cocteau Twins as much as any other modern Western pop band is no surprise to me. They are, and have been for 20 years now, my pick for "The Band Who Is The Most Ahead Of Their Time." Liz Frazier's voice transcends language, semantics, nationality, culture, and physical borders.

http://www.youtube.com/watch?v=YjRdpC0ul_I
http://www.youtube.com/watch?v=9RO_tUfz79A
http://www.youtube.com/watch?v=Ll-NWDAnAGQ
http://www.youtube.com/watch?v=mSdX_OGwZXE

[Fender&EHX4ever]

Bump! Dialogue anyone?

[SpectralJulian]

I tried really hard to like cocteau twins, but never really got into them.

[Small Stone]

Never heard their music, any album suggestions?

[Fender&EHX4ever]

Originally Posted by Small Stone

Never heard their music, any album suggestions?

Heaven or Las Vegas (1990): check out Iceblink Luck

Blue Bell Knoll (1988): check out Carolyn's Fingers

Victorialand (1986): check out Lazy Calm (not the official video though)

[red_riviera]

Originally Posted by Small Stone

Never heard their music, any album suggestions?

It's rare i'd recommend any band's 'Best Of', but 'Stars and Topsoil' is a very good compilation showing the progression of the band.

[Fender&EHX4ever]

Originally Posted by red_riviera

It's rare i'd recommend any band's 'Best Of', but 'Stars and Topsoil' is a very good compilation showing the progression of the band.

Good suggestion. Stars and Topsoil shows their range. Their early stuff is very different from their later stuff.

Also, this is their official video page: http://www.cocteautwins.com/html/media/video.html

[seifukusha]

Originally Posted by Fender&EHX4ever

Praise Jesus! Finally a thread about some of the greatest music ever made on this planet.

You've given me more to read than I can respond to at the moment, so allow me to just add a short anecdote for a post.

The fact that Faye Wong and China have embraced Cocteau Twins as much as any other modern Western pop band is no surprise to me. They are, and have been for 20 years now, my pick for "The Band Who Is The Most Ahead Of Their Time." Liz Frazier's voice transcends language, semantics, nationality, culture, and physical borders.

http://www.youtube.com/watch?v=YjRdpC0ul_I
http://www.youtube.com/watch?v=9RO_tUfz79A
http://www.youtube.com/watch?v=Ll-NWDAnAGQ
http://www.youtube.com/watch?v=mSdX_OGwZXE

great reads and videos. where does it mention about faye wong and the twins?

[Fender&EHX4ever]

Originally Posted by seifukusha

great reads and videos. where does it mention about faye wong and the twins?

The YouTube links in my post are videos of Faye Wong ollaborating with the Cocteau Twins. So you've heard of Faye Wong/ Chunking Express?

[starfish]

There is a lot of studio creativity and distinct effects chains used to produce the songs outlined in the thread above. However, the secret to Robin's sound in the studio was the Lexicon 480L. If you have ever had the privilege to use one, you know this immediately. But this unit isn't widely available. It isn't in production and was a very high-end studio processor which had a dedicated remote controller and no screen on the unit. Even today, these costs several thousands of dollars used if you can even find one.

The Lexicon 480L is what gave him the sound so often misunderstood as a chorus or pitch detune. It was pitch shifting and it was his signature sound. He also used Eventide Harmonizers in the studio and mostly live to reproduce this and he still does to this day use the H3000 on his recordings and in his solo rig.

IMO, today Robin is making music as good if not better than anything he has ever done. That is a BIG statement coming from me, a lifelong CT devotee who first saw them live in 1985 on the Treasure tour. Check out his solo records and ESPECIALLY the latest 2 releases with Harold Budd, whom the CT's worked with on The Moon and the Melodies.

[seifukusha]

Originally Posted by Fender&EHX4ever

The YouTube links in my post are videos of Faye Wong ollaborating with the Cocteau Twins. So you've heard of Faye Wong/ Chunking Express?

yes,maybe when i was living in japan..the movie mayber i saw it..