The Reverb Thread

That’s why I still have my soapdish, although I haven’t fired it up in a while. I’ve recently gotten back into the Wedge… it really loves the MatrixBrute, in much the same way as it loved the Xpander in days of yore…

A buddy of mine just posted an IG video with the wedge… hadn’t seen it before!

Benson Studio Tall Bird. It can’t go to space but it can go spelunking.

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I once had the Logidy. It’s great as far as convolution goes, but one thing to note is that IRs longer than six seconds get truncated.

Any magneto fans?

I just traded my big sky for a magneto - I love the big sky but for some reason I just don’t like pedals while playing live - when I get my full case sorted and my full MIIIIX system setup that may change but the magneto looks so much more than a verb and to have the spring reverb on hand at all times and the analog front end, driving into the record heads…

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Indeed, we have a whole thread for it! Strymon Magneto

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thank you, search is acting weird then coz I searched for a topic before posting… weird…
:slight_smile:

Beauty! A bit to expensive for me, but sounds amazing.

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I am in this weird place with reverb. I went through a phase where I used it as a crutch, and now I’ve fallen out of love with the effect altogether. On the hardware (pedals) side, I own a Strymon Big Sky, a Boss RV-6, and an Eventide H9 max. On the software side, I use Valhalla, Black Hole, and little plate mostly.

As I’ve grown in my ability to generate nuanced musical sounds, I have grown to dislike effects that smear or intrude on the fundamental quality of those sounds. Does that make sense?

Has anyone else gone through a love loss like this? Is there hope? Am I destined for a life of dry signals? What will wake me from this slumber?

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I lost my taste for obnoxious sci-fi reverbs as well. I don’t mind reverb to give contrast depth to different sounds but I like it to be invisible.

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Recording sounds in real spaces should be a good remedy to artificial smear!

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I was reading about the “room within a room” technique in Tape Op (I think), and it’s something I really want to try. Basically playing back a piece of music with a speaker on one end of the room and a stereo mic on the other. Rinse and repeat as desired. Have wanted to try for awhile; perhaps this will cleanse me.

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something maybe worth trying if you haven’t already- put a compressor on the reverb and sidechain it with the dry signal. can help make things less smeary all the time and bring out the dry signal in an adaptive way while still giving you the satisfaction of the tail.

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I noticed the upcoming Noise Engineering reverb has something like this as a capability, and it certainly sounds like a “nice to have” built in option.

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It just happened that I got a tip yesterday about Klevgränd Kleverb which has the ducking feature built in. not that it’s hard to set up.

They seem to have a good example of the difference:

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My experience is that micing a guitar amp from a distance gives a much deeper impression of real space. And reamping might benefit many software instruments too. I try to make use of reverberant spaces when I can. The staircase where my studio is has a very long reverb. Bringing the studio out can be difficult, but I once bounced a track down so I could have it on my phone and listen to it on earplugs, while I recorded “aaaah”-backing vocals into a small field recorder (not so sensitive to timing).

Ha! It’s funny that I’ve known about this technique for years and still I’m lazy and just drop a reverb plug-in on a track etc. The information overload-age. You end up forgetting more than you can remember.

(It definitely helps for clarity and avoiding the smear.)

Valhalla Delay (which can function as a beautiful reverb in it’s own right) offers a Ducking type that does this nicely too. Sometimes playing around with delay-as-ambience instead of reverb can open up a mix nicely as well.

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I could spend an entire day saying nice things about Sean, but instead I’ll just leave this here:

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