I’m pretty sure you can get the exact same results from each. However, I’m not a fan of the UI on the H9 and prefer to use the individual units (I also have PitchFactor and TimeFactor). With the H9 I just stick to a handful of presets.
There are some OTO Bam’s showing up in stores again. Just impulse bought one from patchcable in Tasmania.
Can anyone elaborate on why they love the OTO BAM? It just seems big and expensive? I sought out a few examples a while ago and couldn’t understand the hype beyond thinking it’s a nicely designed hefty looking box.
I’ll admit one of the reasons I ordered mine is the hype. Largely because I know if it doesn’t end up sitting well for me I can sell it easily. I currently use the Valhalla Room and Shimmers in Ableton but I wanted a dedicated hardware send. I quite like Clouds’ reverb & oliverb model, it sits really well in the mix for me without drawing too much attention. I think the BAM models will have a similar style and free up clouds for more creative things. I’m also interested in playing with the 12bit converters on it from a sampling perspective. As far as price is concerned I was looking at an Eventide H9 which I think would end up more expensive and probably too many options in the box. Big sky is cool but sonically too much for me.
OTO BAM sounds very similar to my ears to an AMS RMX16 (but it’s probably inspired as much by the Lexicon 224). If you are looking for a reverb that is currently in production with this kind of grainy, modulated depth and instant atmosphere that is musically dialed-in, I can’t think of anything better. It’s certainly a niche product and sound. However, if that specific sound is important to your production, it’s quite a deal–esp. considering either of those original units is going to cost you > $2,000US secondhand not to mention how difficult maintenance is for them.
I don’t know if any other users here can speak to this, but my BAM distorts pretty easily at the reverb stage and it bugs me.
I dial down the input gain setting but still end up with a crunchy 'verb, especially with fast plucky sounds.
I’m not driving it too hot.
BAM specification looks very interesting but YT demos are not so good to my ears (Some Instagram clips with Deckard Dream are good).
For now, Axe-FX II reverbs sound good for me but have lack of UI and portability. Some guitar reverb boxes are very interesting but they provide analog dry + fx mix and I think its sounds artificial and not glued enough to reverbs that have all signal through the effect.
the BAM demos on the OTO site were what sold me. i love how the time control shifts the pitch so cleanly. haven’t found that in another reverb. freeze is wonderful for making ethereal pads. the chorus sounds great. can do some very trippy stuff with the pre-delay. i bought mine used so that if i ended up not vibing with it i could turn it around with minimal loss. but it’s a keeper
i often use valhalla vintage verb for performances away from LA just to keep the kit light.
2nd-ing the endorsement of it being a very cheap (relative to the original), not-needing-of-upkeep, highly playable and excellent sounding version of the AMS sound. this is admittedly not a sound everyone is interested in, but I love it and had been missing it as I don’t think any plugin has really nailed it.
The BAM is behaving exactly how I hoped, I’ve spent the afternoon swimming in reverb. Now my clouds is on FFT twisting duty which is much more interesting than how I was using it before.
edit: Minor annoyance is the lack of power switch. So adding that to the list of things I have to unplug when I’m done.
I just purchased this one from AC Noises, simply but effective and it’s handmade in Italy so I like it much more
Quite keen on the AMA but I’m not sure if I’d use the bit crusher. The modulation on the reverb is lovely though and what draws me toward it.
I bought an Avalanche Run from Earthquaker Devices a couple of weeks ago but it crackled a lot when self-oscillating, so I sent it back for a replacement. Unfortunately the people I bought it from tested other units and found that they all had the same issue. I’m really hoping that it’s not a design fault or a characteristic of the pedal, as I’ve had some beautiful sounds marred by harsh crackling.
Could be the oscillation/run away feedback causing digital clipping (which it will do without limiting or some clipping/saturation of some kind)?
I’ve been tempted by the AMA, too. I have their fuzz (Esplora) and really like it. The bit-crusher/reverb combo is an interesting idea. After hearing the demos, I’ve tried to get something like it by using my Erbe-Verb and Drezno, but haven’t quite gotten it.
That’s a nice reverb. I’ll keep it mind – it might work well in my second pedal chain (Tensor & Cimmerian Caves V2).
I agree the bit crusher is a bit much though. I like to keep bitcrushers/sample reducers subtle, filter them way down, mix them fairly low with a dry signal, and/or get them to approximately track pitch. It seems like this one might have sounded better in front of the reverb instead of behind it.
Possibly. Earthquaker offered to repair it after hearing the crackle, so I assume it’s not an intentional part of the design.
Recently enjoyed this, thought it’d be of interest
“Turn up the reverb, man.” That’s what the singer up on stage says to the soundman at the mixer at the back of the hall during the sound check. He’s like all the rest of us: He likes the way his voice sounds in the shower better than it does in the dry room of reality. He wants that bathroom echo, that sound that fills his ears as it bounces off the tiles. What he really wants, though he may not know it, is the echo you hear in caverns and cathedrals, that massive reverberation which makes sound seem to be more than what it is, which actually turns sound into space. Reverb makes the music last. And are we not the music while the music lasts?
the time dial visualizer on this is so cool!!