…big sky’s job is to reverb…and nothing else…age is not the first argument…but the main sonic mission is…and by the way…big sky alone is almost half the price of the ot…and yup, younger also…dunno when it came up exactly, but it’s defenitly not since a decade in the market…
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The BlueSky was released before the BigSky, a decade ago…
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The discussion is drifting away…
I was hoping for some more examples… 
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It depends what you use it on. I really like it on pads and strings. Not very fond of it on drums.
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…well, and what strymon is doing, with it’s reverberation ONLY pedal units is great…
and the dark verb is a beauty, once it’s spending space to modulated sonic objects while it’s modulated on it’s own at least a little bit…
and that, even given the fact, it’s nothing but a little aside add on algorithm in a machine that has so much other things to do in realtime, instead of a unit that’s ONLY purpose it is to give space to others…
and no matter which reverb u use…they ALL start shining for real if there is some modulation is taking action…
same rules for all, from the cheapest side gimmicks as the dark verb in ot, to the most expensive dedicated stand alone ones like bricasti and lexicon…
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nice tune
can’t have enough cowbells (thank you, Mr. Walken)
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…wow…and…haha…really nice show offs for ot’s fx section…
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Keep in mind that the shelving filter frequency affects the signal even without gain applied…
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Is there any benefit from sending the Cue output back in and recording/live resampling as opposed to just using a thru track?
this was where I learned to like the Dark Reverb.
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You can record Cue internally or with cables.
With cables, Thru is simpler.
With Cue recording, you can manipulate the recording with Playback, and send back to Cue for feedback. With internal recording no DAAD conversion.
Studio mode is not necessary, it only changes mute and display behavior.
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With max gain (SHVG), it has no effect.
Default (0) is a negative gain, and max (127) is neutral.
Frequencies above shelve frequency (SHVF) are dampened if gain is lower than 127.
I’d rather start with gain 127 and lower it, but for ambient reverbs with long time I usually only use HP in mid position and don’t change LP or SHVF/G.
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It happens entirely ITB so you don’t have to go through an extra stage of DA/AD and you don’t need to use a pair of inputs. In theory you could even use some outboard effects on the cue outputs and rout those to the inputs at the same time, although since you wouldn’t be able to control the send levels to the internal reverb and the physical cue outputs independently it wouldn’t be the most flexible thing in the wold.
But the main reason to do t by recording and playing back the cue internally is just that - it all happens in the OT. If you’re going topohysically patch from the cue outs to a pair of inputs then you might as well use something outboard and then just monitor the inputs - the advantage there being you expand the OT’s pallate by using outboard gear, and you don’t have to sacrifice a track to do it. Both have their advantages and disadvantages.
How much does this differ from the HP and LP filter of the reverb?
HP and LP are before the reverb, Shelving is after and dampen progressively (like delay’s filter with feedback).
Love the shimmer effect (and the tracks!) did you use the cue (internally record) as sends onto another track and feedback back onto itself whilst pitching down the flex buffer recording?
You can, with feedback and pitch up.
In the above Voodoo example I used this :
- T1 with Dark Reverb (Thru, Flex, Static, Pickup)
- T2 recording T1, played with +12 pitch, timestretch on, filter, Dark Reverb (Octave 1)
- T3 recording T2, same settings (Octave 2)
- T4 recording T3, same settings (Octave 3)
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Ah gotcha, so you’re recording in a series for the cascading effect. Nice one thanks
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This was kind of a wild jam. Just decided to use dark reverb and comb filter. Sounds pretty industrial-ish…
I have found that the OT takes me wherever it wants to take me. I have made trophouse/chillhouse/industrial/trap/etc… in just 3 days. And while I don’t always use Dark Reverb, it really has a unique sound especially combined with the comb filter.
Maybe you’ll hate it. Unclear:
(warning - very metallic/electric sounding)
Also here is something a lot chiller in nature and the super warm/spacious pad uses dark reverb:
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