**Connor Schmigle builds pedals and is our field audio technician at Old Blood. Connor is a full time studio engineer and works out of his own studio as well. Here you'll find the visual accompaniment for the audio piece and blog post that Connor produced with Josh Peck and Taylor Hale (featured) with post production help from Seth McCarroll. **
I find myself overusing reverb in most situations, whether playing a show or tracking. It seems that reverb is a standard effect most people use: if it's not coming from your amp, it's coming from a pedal. The Procession does not act like a reverb. Its three modes—Flange, Filter, and Trem—allow you to add motion to the reverb, giving control of the speed and depth of each mode. I've always enjoyed movement in any effect like chorus, vibrato, etc.
This track began with a pulsing sub kick from a Vermona and a pad synth from a Dave Smith run through a DD-20. The Procession was then used on a microphone to track the sound of my foot stomping. I treated this as if it were the snare, then used the same mic and settings to run into an amp. From there I recorded a vocal progression not consisting of any words. That helped solidify a simple structure. The rest was tracked with the synth playing melodies through the Procession (usually on the Trem or Filter modes with the Reverb at a higher setting). Now and then I'd throw a Delay Champ or Black Fountain in the chain.
I use and appreciate this pedal because when switched on you're also committing to the mode selected. Typically a reverb replicates the sound of distance. The Procession does that, but also gives you options to create unique textures with its modulation. Also I'm just a sucker for anything with a wet/dry knob.