Hey, Joseph. Thanks for your kind words. I'm glad you're interested in the details; few people are. NERD ALERT: Alright, just remember…you asked for it! So first off, the basis of the effect uses a send. Which more or less means you’re hearing a dry signal mixed in with an effected (or “wet”) signal. On the send is as follows: A pretty substantial presence boost in the low end using the “Earth” module in Slate Digital’s “Virtual Mix Rack”. Note: This low end gets rolled off later. Its more about pushing targeted frequencies to saturation in upcoming effects than it is about sounding bass-y (My natural voice kind of takes care of that part). Next comes a fairly tight convolution reverb. In this instance around 300ms using an impulse from LiquidSonics emulating a room from the classic Lexicon 480L. Fun Fact: Its actually a bathroom. The tiles and other hard reflective surfaces give the reverb a colder and more metallic sound, which I thought better fit my sonic concept of the character’s "suit”. Then comes Pixelator which is really just a simple (but high quality) bit-reducer made by Joey Sturgis Tones. Bit-Depth and Sample Division are both set at 8 (cause who doesn't love 8-bit, right?), using “Sample and Hold “ mode, mixed in to taste (at about 25%). Next comes a phaser, in this case made by AIR Music Technology, centered around 1kHz cycling once a second (1Hz) mixed in to taste (about 15%). Then comes an amazing Plugin by McDSP called FutzBox. (I know. You can tell already by the name that its a good one.) This one runs the entire send chain thus far through an emulation of an old pocket radio. This is also the step where I roll off the low end using McDSP’s famously kick-ass filters, pump some distortion into the midrange, and add a slight presence boost (around 2dB) just above 4kHz . Next comes a Ring Modulator by Waves Audio with a sine wave oscillator centered around a 50Hz carrier being modulated by a sawtooth oscillator within a 250Hz range. Again, mixed in to taste at around 20%. This just plays with the pitch a bit and gives the effect some of its “motion”. Then comes a great tool by SoundToys called MicroShift. It helps to really push content out to the sides of the stereo image. This is particularly useful when creating layered effects as to allow the dry signal to better cut through the FX and maintain clarity in its own sonic space (the center). This plug in achieves this effect by emulating some classic pieces of hardware like the Eventide H3000 and AMS DMX 15-80S. At its core, its a harmonizer capable of shifting frequency and timing in very small increments…hence “MicroShift”. I have the delays set very tight and the tuning set somewhat loose. Furthermore, its set to focus on the low mid content around 200-400Hz (the part that at this point has been pretty heavily saturated). This helps to really make sure the grit/character/vibe/whateveryouwannacallit of this effect really shines through on the edges. ("Je ne sais quoi" maybe?) Last comes a killer little chorus plugin by D16 called Syntorus. This achieves a similar effect as the above MicroShift, however with a very different feel. This is a double path chorus with each path being modulated by an LFO. Additionally, this last layer of chorus helps to “glue“ some of the spread that MicroShift creates. It just tones it back bit and makes it sound more homogenized. Like the whole chain is one complex effect rather than the 8 layered effects that it is. Finally, remember that the whole send then gets “returned” and mixed in with the dry signal. The send is at unity gain, which means that you’re hearing a 50/50 wet/dry balance. If you’ve bothered to read this far…YOU'RE A HUGE NERD! lol jk. but not really. me too. its ok. ANYWAY, thanks for taking the time! I hope it was helpful. Any other questions don’t hesitate to reach out. tl;dr - Use sends to get whacky, but still intelligible effects. It also helps to know what you're doing with them. ; )