The Reverb Thread


#365

BAM is definitely an instrument in my setup more than it is an effect. feels. good!

that being said the algorithms very much have a “sound”, and it doesn’t really sound anything like an eventide reverb or the big version of the blue sky which are in a similar price range and can maybe be a little more “spacey”. it’s hard to describe the sound. maybe more underwater than cosmic? definitely not always what i want for everything, but in a specific performance set up i love it and would never take it out. the feel is also nice vs a stomp box vibe. i would suggest buying one from somewhere where you could return it if you don’t jive, or a good used deal so you can always re-sell.

if i didn’t use it for recording and performing live i don’t know if i would keep it since it is an expensive thing for a digital reverb. valhalla reverb plugins are amazing sounding and are very affordable, but playing hardware is irreplaceable since i don’t use my computer for performance.


#366

+1 on the BAM love. I recorded last year in a studio that had the BIM & BAM combo and they were extraordinarily versatile. We used the BAM to make a massive wash of vocals on one song, and then turned around on another song and used it as a totally invisible vocal reverb that added depth and space with a really short tail. we even did a “solo” where we grabbed one note of a Juno coming out of the chorus, froze it, then rode the pitch with the size knob to make a melody.

I would characterize the sound as very warm, with the ability to be quite thick but also disappear into the background. We also tried the studio’s Ursa Major, AMS RMX16, and Lexicon PCM42, and the OTO units were definitely of the same ilk and capable of covering their tonal range but with much more versatility. BAM was like having a hardware ValhallaVintage as some have said.

I’m really in love with the sound of both OTO units and I dream about having a set of my own someday when finances allow!


#367

im loving the verbs in the Grand Terminal. I love that module flat out, it doesnt get the praise it deserves…i just got a H9 and a Big Sky so from zero to hero(ish) - ive never had rack mounted effects so its an absolute pleasure i cant believe i’ve neglected


#368

re: BAM’s ‘Freeze’ function - anyone have any links to video or at least audio demonstrating this? I haven’t been able to find much on it. I definitely get the idea, but just would like to hear/see an example in context since it seems super cool!


#369

They show it a little at the end of the official vid. Have you seen that?


#370

another space to see it used is in @David_Rothbaum’s latest video, starting around the 2:00 mark.


#371

thanks for this- i hadnt seen/heard anything of that function


#372

@jonny & @karst - thanks! I had skimmed the original video but maybe didn’t watch through the whole thing, and I hadn’t seen @David_Rothbaum’s video yet


#373

Freeze is a normal, classic function of most modern-ish reverbs. The Space/H9 has it, I assume most other vendors offer it too. On my H9s (and the Space, since that part is identical for both) you can control it with an expression pedal or a footswitch, turn it on or off while playing. With the expression pedal you can also go between freeze and infinite - the difference is that freeze holds the current reverb buffer while NOT reverbing anything new played on top (so you can layer clean over the frozen wet signal) whereas infinite continually adds whatever you’re playing into the frozen buffer. Obviously, without care, this can lead to overloading the buffer and clipping, but with some careful balancing of the input, you can get these immense, shifting washes. Eventide’s algorithms (which I’m mostly familiar with, as you’ve no doubt noticed by now) do a nice job of helping you not overload the buffer by carefully and intelligently adjusting the feedback based on the amplitude of new signals coming in. I can’t say anything about how other vendors implement it.

But in summary, Freeze / Infinite is a very normal, common reverb tool/technique and it’s not unique to the Bam.


#374

From what I can tell, @joshhh understands what it does, but wanted to hear/see it in action specifically on the Bam. The background doesn’t hurt though!

In comparing Bam to other reverbs, I’ve been wondering – does space/h9 latch? That appeals to me quite a bit on the Bam since you don’t have to hold it down. My Big Sky didn’t have that except via MIDI if I recall.


#375

@jonny is right, I’m definitely aware of ‘Freezing’ as an overall technique, more just wanting to get a feel for how it sounds and works specifically in the BAM, and since it’s right on the front panel and latches, it strikes me as intended to be more performative than in some other implementations.


#376

On the Eventides, does changing the size parameter change the pitch, similar to changing time on an analog delay? That’s what the BAM does, I’m sure it’s not unique but it’s not the most common feature. I was referring to it above, grabbing a single note and then “playing” a melody with the size knob. If the Eventide does that too, it might change my FX calculus.
I’ve long been using an EHX Cathedral for verb freezes and the only parameter you can change is tone, I plan on selling it when I pick up a BAM.


#377

i use it quite a bit on sharing waves :slight_smile:


#378

It depends on the algorithm. Some do, some don’t. If they are delay-line implemented reverbs then usually yes, changing the size changes pitch. If they use resonant networks instead (e.g. blackhole), it doesn’t always (or if/when it does, it’s not as clear or obvious in all cases). That said, if that’s an effect you want, there’s at least one or two of them that do that.


#379

Thanks for clearing that up, I read @joshhh’s comments as being surprised such a feature existed at all. As you both pointed out, that wasn’t necessary. Sorry for the noise!

Yep, you can choose between latching or momentary for the H9 depending on how you map your footswitch. https://www.eventideaudio.com/comment/27158#comment-27158 has a good summary of your options and how to implement it. The Space is similar, but it includes an extra footswitch onboard so you don’t need an external one.


#380

For those of you who have been using the Chase Bliss Dark World, how is the pedal for pure ambience? I’m trying to get a sense if its sweet-spots are more in conjunction with the Dark mod/warbles side or if you can squeeze some large, sweeping ambient fields out of the pedal too? With most of the demos being used with guitars, it’s been hard for me to judge use cases with synths.


#381

It’s pretty great for ambient IMHO, except that it’s mono. Infinite hold, or just very long reverb times (the plate goes to about 48 seconds).

The “mod” mode on the dark side is nicely softened and less warbly when the routing switch is centered, so all the noise goes into the reverb. Also the tone control tames mod mode a lot.


#382

for a “master” reverb i would go for BAM. However, i use Dark World in almost every patch as it adds a lot of character

Here a recording i made when i got the pedal and tested some of its modes. There is a lot of BAM inside too, but you may get another idea about the sounds and modes


#383

Though it’s not just a reverb, I’m surprised to see no mention of Vermona Retroverb Lancet here. This video makes it look pretty interesting - https://www.youtube.com/watch?v=dNwafxgfC4w


#384

Thanks for mentioning because I really love it, actually only ever used it in recording studios but really do love it. Vermona stuff rarely get mentionned yet they make stuff that, to my ears, always sound musically and very well thought out