It was a tongue-in-cheek remark. Shimmer reverb is pretty polarizing around these parts 
I would agree that “There are no boring colors. Just boring applications of them.”. You and I could be given the same tools and do wildly different things with them.
Oh really ? Why are people arguing about shimmer ? 
Because its shit.
It’s one of these things that allows people to really fill the sonic space and add a lot of harmonics very easily, which perhaps lends itself to unimaginative overuse. Doesn’t mean that everyone using it is unimaginative or that the music isn’t good of course, far from it, but yeah it can attract ire from those that dislike it.
Personally I think there are more interesting ways to fill the upper part of the spectrum, and shimmer isn’t to my taste for the music I want to make. I remember hearing it for the first time with a Valhalla plugin like 10 years ago and being amazed by it briefly, but I never did anything with it. More power to those that can do wonderful things with it though.
Now is the time to buy all the cheap shimmers. In 5-10 years they will be worth a mint.
I love shimmer reverbs, and I don’t make tacky music. I also (like to) think I use it when it makes sense and not as a gimmick. So I don’t mind if shimmer reverbs, just like sidechaining, are considered overused and cheesy. I am not going to let lazy cheeseball producers ruin things for me, haha.
Octa shimmer 
Retrokits RK002
6 Midi tracks sending notes of chords with random arp, each one playing an audio track (looped saw) with midi loopback.
You coul always use the LFO designer to make a basic arpeggiated chord (i.e. 0, +4, +7, +12), set it to modulate the pitch of a single-cycle waveform, and then turn the LFO speed up fast enough to get a wavetable chord (in the commodore 64/chiptune sense, not the wavetable synthesis sense). A very short delay with low feedback or a short, dense reverb could help it sound more like a sustained chord if you want that.
To make chords, sometimes I run a single note through a harmonizer. The H9 has several.
That is a brilliant interview, thanks for sharing! Iove these quotes in particular:
I’d cane Jaffa Cakes and make compilations
I don’t really go on the internet, it’s like a ouija board, it’s like letting someone into your head, behind your eyes. It lets randoms in.
London’s part of me, I’m proud of it but it can be dark, sometimes recently I don’t even recognize it.
Once you’ve heard that underground music in your life, other stuff just sounds like a fucking advert, imported.
i have a project on my OT that’s basically this: 6 tracks assigned to the same static track. i have 16 1 bar long patterns. in each pattern‘s first trig i have altered the pitch of the track, so i get 6 voice chords. in song mode i have these 16 patterns.
track 7 listens to master (plen changing depending on source inst, in any case it loops perfectly).
so whatever sample i put to static slot 1, i can easily “render” 16 different chords with a single keypress. then i set slice markers (slice grid 16) and save the sample.
it was a pain to setup properly, but once you have it, it’s a great luxury!
P.S: i sometimes microtime trigs from track 2 to 6, to have some “strum”my vibe.
It’s possible to make an OT project with sequencer information locked in place to create all the chord shapes you can be bothered programming
Replace the sample with whatever sound source you like to use for current track, then record to buffer and save
Sure it does take you out of the moment for a bit but you can reuse the sample chains as much as you like, and it doesn’t take much effort once it’s set up