That example was helpful.
That sounds very much like the mix, less like the performance, to me. I hear an almost crystal echoes type reverb on that guitar, certainly there's a lot of reverb on it, and the dry signal is mixed very low in comparison to the reverb signal. It's a long reverb with a lot of high frequency content.
It could also be some synth pads but if you don't want to break out the synths here's my suggestion for a homebrew crystal echoes.
You're going to need two aux busses.
One is going to have a pitch shifter set to +12 steps that feeds a delay on it set to a few hundred msecs. So it's pitch shifted delay. And the output of this aux is going to feed 100% in to the second aux buss which will have a huge reverb on it, set 100% wet of course. Try and pick a reverb for a long, narrow type room if you can. You want it long but you don't want it boomy. You don't really have to have dry pitch shifted signal in the mix.
Take your original guitar channel and use a pre-fader send to send some of the signal to the aux buss with the pitch shifter on it. Use a second pre-fader send to send some of the signal to the reverb.
Now comes the part where the ears take over: you want to balance the dry guitar signal (with that channel's fader), the pitch shifted signal in the reverb (which will give you some sparkly version of the original signal in the reverb signal), and the reverb signal. You can use those two new aux channels to create a washed out, but pad-like, version of your dry guitar signal that can get mixed in pretty heavy to take some of the edge of of things.