A4 reverb - p-lockable, vast, modulatable.
OT’s Darkverb - dark (duh), infinite, cavernous, resonant
Valhalla Super Massive - FREE
when I tried it out first, I thought how cool this Stereo Effect is, but when comparing it to others (eg Phoenix Reverb from Exponential Audio) it felt a bit like comming out of a bathroom. So it sits on my harddrive, but is rather unemployed.
Same +
Altoverb & Reaktor Space Master 2
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Native Instruments gave Raum away for free a while back and since then it’s my go to reverb. It’s one of the only third party plugins I use, really. Modulating it with Bitwig is good fun too.
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Is this good? In addition two other Exponential fx, it comes with the Izotope Holiday Bundle…
I love both high and low quality verbs. Sometimes you need some sparkle and sometimes you need some noisy grunge.
Both of my elektrons (m:c and armk1) get their reverbs used on most patterns.
I have a pair of old boss se50s that have very usable “bad” reverb. I mostly use those for other effects but occasionally for some subtle verb treatment low in the mix.
I picked up a caline snakebite on a whim because it was stupid cheap. It’s a truly awful clone of the earthquaker afterneath. It feels like instead of reverb it just kinda makes everything blurry. Haha. Still in the experimenting stage with that one.
An old Realistic (radio shack) reverb that, while crazy noisy, works with so many sources. I think it’s due to its weird gain staging. I treat it like a distortion/ reverb combo effect.
Then springs. I have a whole bunch of spring tanks I’ve salvaged, some from guitar amps and pa heads but mostly from old organs I’ve stripped down for parts. I’ve also built a few spring units from junk. Makeshift drivers and mostly piezo pickups. My favorite one uses the springs from a folding desk lamp.
I like to keep most of my verbs in a patchbay driven from mixer sends and returning to channels rather than fx returns. I have a side mixer that I mostly use for effects and feedback loops and verbs usually end up there. Dub inspired routing.
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Interesting, any tips on how to google this kind of method? Or know of a thread / YouTube video that exemplifies it?
@lesstalkmoredisco Hmm. Not off the top of my head. I used to live with a few guys who made dub and I just kinda learned it from them and then experimented to see how far I could push it because I’m that way.
The basic idea is to have a “main” mixer (mackie lm3204 in my case) and a secondary mixer (I mostly use a mackie 1402 for this). Send a bunch of outs from the main mixer to channel ins on the secondary (fx sends, alt outs, tape sends, headphone outs, whatever), then send the second mixers outs to effects (but make sure to reserve a pair of main or control room outs to send back to the main mixer). Next send the outs of those effects back into unused channels of the second mixer (or the main mixer). Depending on the architecture of your mixers you can do things like assigning effects back to their own inputs for feedback or through other effects in series (or parallel if your mixer allows it). I also like to make duplicates of signals with a patchbay for even more routing weirdness.
All of this gives you a ton of control for live mixing effects but it comes at the cost of being convoluted and often causing signal loss/ degradation. It’s really helpful to think of mixers as instruments meant to be played. Patchbays help tremendously with this approach, I have two that I leave wired up and another two that I set up differently for different things.
When I’m feeling up to something really dumb and fun I’ll throw more mixers into the setup. You can take this concept as far as you want (dare?) or you can keep it minimal and streamlined like the dub guys tend to.
I hope that helps. I’m sure the internet is full of folks explaining/ demoing how they do similar things, I’ve just never looked.
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well, its the same engine as in Nimbus I guess, only that has additional fx. I found it to be the best parametric reverb on the market, with very usefull presets, that just sit in the mix. But try the demo and judge for yourself.
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Nice one! This has me thinking how to apply a similar approach in software. I’m guessing groups with their own ‘sends’, being fed into the main sends and so on? I love this stuff a lot!
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Horses 4 courses
Strymon Bigsky for a lush dreamy choir of angels, used on JV1080 pads and the main outs of a virus snow AUX 1. Ducked using an alesis 3630 compressor that takes key from the AR kick
HOF2 for a dark downward shimmer, used on most of my synths to some degree AUX 2, Ducked using a second 3630 also taking key input from the ARmkii kick out.
Lexicon mx200 a short tail staples room sound with a smattering of ping pong delay, controlled over MIDI using the DT to plock volume ducking. Used on percusive sounds
ARMkii reverb with a short decay for drum room reverbs, plocked to duck and pump with the kick.
A4mkii reverb with a medium decay also set to duck and pump using plocks
DT reverb with a long almost infinate decay, dark tone with all the highs taken out.
DN I change per pattern
MC is a weird one, since i have started running the MC in line through a Kaoss pad 3 the reverb gets a beating by the various bit reductions, distortions, filters etc etc.
sometimes a reverberated FM sound through distorted fx sounds fantastic. So the MC gets 2 sometimes 3 treatments of reverb, internal then kp3 then ducked by a sampson ccom and then on to the HOF2
I would imagine you could go even further in software and without any signal degradation. I pretty much just use software for recording, editing, and sample prep so I can’t speak to the specifics.
Yeah, if you have groups to work with that helps a lot. It’s all just crazy routing. Grouping, making multiples of signals, feedback loops, parallel processing, etc, and summing it all together in the end, all while being able to play everything with a lot of hands on control. I bet in software you could automate/ sequence a bunch of it and get really crazy. I’d love to hear what you come up with if you get into it.
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I really love Ableton’s stock reverb device, the new one in Live 11 also sounds great.
My favourite trick is to put a gate before the reverb send so it only little “plucks” of the source sound come through into the verb, it adds a lot of character to melodies
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I actually think Bitwig’s reverb is quite nice. As a bunch have said above, the Dark Reverb on the OT has some love, which kinda goes to show what folks can do with limitations. We live in amazing times.
Though, I do have to say Ableton has an IR reverb, and I love IR stuff. Hope Bitwig does this someday.
I used the free Valhalla Super Massive to finish up some old projects I found on my PC. It’s a really interesting and flexible reverb if you take the time to get the hang of its parameters.
Other than that, I haven’t missed selling my hardware reverbs. I like finding a way to use the Elektron reverbs as is. Usually just some parameter tweeks and EQ balancing sets in it the mix just right.
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I was addicted to the Blackhole algo in my Eventide H9 Max. Used it on everything. I gradually weaned myself off of that, and this was before Blackhole was released as a plugin, IOS app, and separate pedal.
i probably use the built-in spring reverb in my QES Roadtripper MCM amp more than any other reverb, because I practice on guitar or Eastman Warren Ellis 5 through it practically every day. I like how unobtrusive it is - it adds just enough space to make the instrument sound nice, but doesn’t overwhelm like Blackhole can. It’s also the only spring reverb I heard that sounds really good with electric violin - others I’ve heard add some weird overtone or another that is fine with guitar but sounds terrible to my ears with violin.
My pedalboard include Industrialelectric RM-1N, Zoia, and CBA MOOD - each of them offer their own flavors of reverb.
Yes, I am one of the OT users who loves Dark Reverb. I like the other reverb in it too.
I ordered a new Scarlett audio interface to make it easier to route audio between my iPad and hardware. I have some weirdo reverbs in there like Gliderverb that are fun to play with but can be CPU heavy. I just got DDMF Envelope AU Reverb. I’ll probably buy the AUv3 version of AUFX:Space when that’s out.
Aside from the spring reverb in my amp, I guess I’m not faithful to any particular reverb.
love love love the dark reverb on octa.
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Quadraverb+, Dark Reverb, Digitones Reverb, Valhalla Vintage Verb, FAC Alteza, Toneboosters Reverb 4
Huge fan of the Ventris Dual Reverb. Huge and lush is what it does best.
DFAM FM madness + E-Dome Algo = instant Techno atmo
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