Valhalla is known for its digital reverbs and delays that pay homage to digital reverbs of the late 1970s and early ’80s, and otherworldly algorithmic reverbs that sounded huge and atmospheric. The Valhalla Frequency Echo is a combination of a vintage echo delay and a frequency shifter, giving you sonic results that “range from subtle chorusing and double tracking to barber pole phasing and flanging to endless glissandos and runaway echos.” Whether you’re putting mono or stereo signal in, it converts to a stereo signal out.
Similar to social media platforms, it’s easy to get fixated on increasing your total number of likes, followers, or views. While it’s always encouraging to see these numbers go up, the truth is that these are just vanity metrics — or, in other words, things you can measure that, while not completely meaningless, don’t matter all that much in the grand scheme of things.
Following some standard doubling of the main guitar riff during the song’s introductory chorus, Jameson erupts with some root-octave slapping in the verse. He follows this with a couple high pops up on the neck and a slide down to the relative minor. The pulsation of F# with the fifth below it and alternating with the A just above it generates a funkier feel than you’d ever expect from a hard rock song with a simple three-note guitar hook. The sequence is repeated several times in the verse and, in spite of all the other cool riffs in this song, leaves you wanting to hear more.
So far, we’ve kept to pretty mainstream pop tunes, but when we start to move away from those, things can get murky pretty quickly. For instance, while verses and choruses might be easy to recognize in a big pop anthem, how they function in an electronic dance song might not be as clear. Or how would you describe the form of something like “A Day in the Life” by The Beatles? It’s basically two entirely separate songs smashed together, so there’s no obvious “verse” or “chorus” section. Same thing with Travis Scott’s “Sicko Mode,” but for three songs’ worth!