Voda, Starise,
 
Appreciate your feedback. I haven’t figured out if the vocal effects are a blessing or a curse. Over the years, good musicians have told me some tune is okay but could I cut back on the flanger on the vocals, which I overdo in every song. Problem is there is no flanger on the vocals, it’s a built in artifact. Think I inherited it when the Bee Gees came out and I was inspired by their vocal style. Up til then, singers did vibrato on the voice. These guys did tremolo. Practiced as hard as I could until the tremolo became second nature and lost the vibrato ability. Double tracking a voice for me now injects a flange that I can’t take out. Got to practice to get back in tune though.
 
Starise, your Celtic clip is excellent. Took me awhile to recognize something familiar there in the style, and got to wonder now if you are the reincarnation of Harry Chapin.
 
Said I’d post a finger pick tune. Chords are simple. Pick style is simple, uncomplicated, but a major right hand burn out to keep it going for over 4 minutes without mistakes that are overly obvious.
 
Just to share some crazy techniques used in “Spinnet”
 
There is a young kid in Portland, brilliant audio engineer with a 150k ProTools based studio. State of the art everything. He does the recordings and the final mix is to take the pristine digital session and render it onto a 1970’s Revox half track tape machine.
 
I got inspired to see if the opposite approach would work.
 
Spinnet was recorded on a Teac 4-track to get real analog warmth. Did a temp background of nature sounds taken from a genuine 33 vinyl record mixing several sequences. Everything old school. Then mixed into Reaper, noise floor extracted with FIR, then harmonics added back in. Analog to digital. Plan to replace the LP sounds with digital real sounds and see how that comes out.
 
4 tracks for the guitar. Two Ebows for the drone. Two for the finger picking. Used a badly mutated old Gibson single coil SG.
 
https://ufile.io/r2kb1
 
John

A very nice "shimmery" effect there going on . Nice! 
The vox. Maybe untrain yourself on that. Works for some things well. 

JohnKenn
Voda, Starise,
 
Appreciate your feedback. I haven’t figured out if the vocal effects are a blessing or a curse. Over the years, good musicians have told me some tune is okay but could I cut back on the flanger on the vocals, which I overdo in every song. Problem is there is no flanger on the vocals, it’s a built in artifact. Think I inherited it when the Bee Gees came out and I was inspired by their vocal style. Up til then, singers did vibrato on the voice. These guys did tremolo. Practiced as hard as I could until the tremolo became second nature and lost the vibrato ability. Double tracking a voice for me now injects a flange that I can’t take out. Got to practice to get back in tune though.
 

You know, I wondered about that.  As I was listening I thought I was hearing close mic singing with a lot of vibrato, or tremelo, I guess.  But I wasn't sure and decided it was some effect you were adding.  
 
That's actually a pretty cool technique.  I know what you mean though, you don't want it on everything, but it's cool that you can do that.  It makes it kind of signature for you.  I'd roll with it.  But maybe add the skill of a cleaner style too, for when it's not appropriate to use the John Kenn vox technique.  

Thank you guys. Think the lesson and task ahead is to learn to unlearn.