In practice, the distinction is somewhat blurred, especially when ramping up a reverb pedal’s Decay control. Simplistically, the larger the room, the longer the reverberation time (lots of factors are at play here, including the ceiling height, number of walls, how reflective the surfaces are and so on). Distortion pedals come in a variety of shapes and sizes with differing capabilities and functions. Before choosing the best-suited addition to your pedal board, it’s important to understand what the various controls and specifications mean in relation to your guitar’s tone. In the following section, I’ll present a detailed overview of everything you need to know about distortion pedals so that you can make an informed choice. What Is Reverb? In cunjuction with the Echosystem i have now only need for a Uni-vibe, tremolo and a vibrato pedal. All other modulations are covered for me personally... The only downside to this feature is the LED light intensity, which is only a rough indicator of how much reverb level you are adding. It can be tough to know exactly where you are in the range if it’s 4/10, 5/10, or 6/10. So I’ve found it’s not necessarily the easiest way to dial in a precise level. But in a live scenario, it’s still very useful to have the ability to vary the level of reverb you need with simple foot control.

It’s important to consider making sure you don’t attempt to power your pedal with too high of voltage for what it’s rated and to also verify the polarity of the supply you are using. Using a power supply with too high output voltage or wrong polarity could potentially damage your pedal. The Decay knob is pretty crucial, as it allows me to adjust the length of time that the reverb lasts. This can be used to create a shorter reverb that only lasts a few milliseconds or a longer reverb that lasts several seconds. This control is particularly useful for me to dial in a cavernous reverb for an ambient piece or a short or if I want to dial things down to just fatten up my tone. I’ve fairly recently decided that I will also be getting the CXM 1978 sometime next year - I obviously need to save up for that a little, while I will also likely be acquiring the Flamma FS02 too for incidental rotation and experimentation. For Thing 1 and Thing 2 I was looking into doing some sort of reference matrix - but that's really not feasibly as there are just too many different Parameter type - 21 for Thing 1, and 18 for Thing 2 - as follows : studio quality algorithms and counting - The pedal has 12 algorithm types, some include multiple variations. For example, vintage and studio plate, dark and bright springs. Also, as more algorithms get added you can update your pedal via the SD Card. It's the pedal that keeps on giving.I went down a path of Dual / Parallel Reverbs for a while - Boss RV-500, Source Audio Ventris and EHX Oceans 12 - and had hoped that the Empress Reverb would go Dual Parallel eventually - but in truth - and despite my procrastination - I'm not sure I really need that functionality / feature set - there was a complexity aspect to much of that - and Reverbs mostly seem to be about that Pristine Studio Quality thing - where so many swear by the Chase Bliss CXM1978 - but for me that's just takes up a little too much real-estate - and only really gives me 3 core flavours - where too many of my most used and favourite algorithms are essentially missing from that offering. My Review: Walrus Audio is fast becoming one of the leading producers of guitar FX pedals, and the Slo Multi Texture is one of my favorite pedals they’ve ever produced. One of 3 pedals on this list that I use on my personal pedalboards, this one gives me access to smooth, ambient soundscapes and has a somewhat unique ability to produce textural reverb. With three onboard algorithms that have been specifically designed to bring the dreamy reverbs of your imagination into sonic reality, the Slo Multi Texture boasts impressive depth.

The second control is the EQ knob, which allows me to adjust the tonal character of the reverb effect. I found this useful to brighten or darken the reverb, to make it more pronounced, or to give it a more natural character. I found this particularly useful when I’m trying to fill the right space of my guitar into the overall mix of your song. Advanced Configuration Menu - The Advanced configuration menu lets you configure how your delay works. Select from true or buffered bypass, 0-35 presets, MIDI configuration, Control Port(expression pedal, external tap, control voltage and MIDI) as well as which style of preset system to use, input signal pad, output transformer enable and more! If you’re looking for a tough, easy-to-use reverb pedal that provides all the classic reverb tones yet isn’t going to leave an unsightly bruise on your bank account then you can’t go wrong with the Boss RV-6. It gives you a handful of reverb essentials – Spring, Plate, Hall, Room – and enough alternative tones, such as Shimmer, to keep things interesting. On a reverb pedal, you’ll find that there are several adjustable parameters that allow you to control different aspects of the effect. Although these controls may seem complex at first, when broken down, they’re quite easy to understand. The main parameters found on a reverb pedal are In terms of how it is best utilized, the JHS Series 3 Reverb is perfect for any musician looking for a simple design with few simple yet useful features.The “Shimmer” reverb setting is lush and open, perfect for room-filling soundscapes. The “Spring” setting is a much more classic spring box reverb tone, similar to what I’m used to and use most often. The “Modulated” setting was interesting as it has a bit of a chorus effect layered in. Much of the time you’re going to find yourself fine tuning your sound with the straightforward Decay, Tone and Level knobs, which define the reverb’s length, color and wet/dry mix. However, if you want to drill deeper into your tone, or just fancy working through some big name presets, then you’ll love dipping into TC Electronic’s Toneprint software and library. Using the TonePrint Editor, you can build or borrow sophisticated custom sounds to load into its Toneprint slots and, here’s the clever bit, assign parameters to the pedal’s MASH footswitch. Classic Sounds - Emulations of classic tape and analog units are available, as well as our take on these types of delay. That said, it's generally accepted that reverb should be placed at the end of your effects chain to unify the rest of your FX pedals with a homogenous dollop of verb. The exception is modulation pedals – Chorus, Flanger, Phaser and so on – which may be placed after reverb to add some interesting colouration to your final tone.

More recently, it’s used its modeling expertise and hardware knowhow to develop half a dozen stompboxes that cover all the essential bases from classic amp simulations to indispensable FX. As you’ve probably guessed, the Golden Reverberator handles the vintage reverb side of things, including ’50s-inspired studio plates, ’60s springs and ’70s digital. Changing presets or disengaging a pedal while playing can also abruptly cut short a tail, which sounds awful. Thankfully, many reverb pedals have a solution to this, such as buffered bypass and a related feature commonly known as spillover. EQ settings are commonly featured on reverb pedals. This is a highly useful control as it allows you to shape the frequency response of the effect to make it blend nicely with your guitar’s natural tone. By cutting off problem frequencies or unwanted bass traps caused by a reverb pedal, you can create smoother, cleaner tones accurately. Tempo-Syncing Your Reverb Pedal While pedals such as the Empress Reverb, Strymon BigSky, and Evident Space have carved out a niche market category of their own, one thing to consider for many guitarists is that there is often a bit of a learning curve that may be suited for a more expert-level player to really utilize all it has to offer. The kind of player who has the time to experiment and fine-tune unique soundscape effects and take advantage of the plethora of preset channels will get the most out of this pedal. That being said, for a more intermediate or beginner-level player, the Empress Effects Reverb Pedal is sure to have some high-quality reverbs for you to easily dial in and save a few presets and enjoy the high quality of this pedal as well. have carved out a niche market category of their own, one minor downside for many guitarists is that they also sometimes have a learning curve that may be suited for a more expert-level player to really utilize all it has to offer. The kind of player who has the time to experiment and fine-tune unique soundscape effects and take advantage of the plethora of preset channels will get the most out of this pedal. That being said, for a more intermediate or beginner-level player, the Empress Effects Reverb Pedal is sure to have some high-quality reverbs for you to easily dial in and save a few presets and enjoy the high quality of this pedal as well.After selecting the right reverb pedal to add to your pedalboard, the next question that arises is where it should be positioned in the signal chain. In reality, there’s no correct answer. In many cases, the most unique and interesting guitar tones are a result of experimentation and going against what is considered to be the norm. With that said, there is some theory behind the positioning of your reverb pedal, which will greatly impact the sound it produces.

Another variation commonly found on guitar pedals is room reverb. This refers to the effect that happens when a sound is played in a small space like a bathroom or living room. Although the reverb produced is less polished and intentional than that of a concert hall, room reverb has a familiar sound because it recreates the reflections that we are used to hearing when spending time indoors. The decay time of room reverb is generally short, at around ¾ of a second, and the early reflections are more prominent than the tail end. Hall is pretty self-explanatory, it has the unmistakable vibe of a large reverberant space. Variation number one makes for an excellent vanilla ‘always on’ type verb, that sounds great but isn’t overtly characterful. Variation two is more identifiable as a plate reverb – it’s slightly brighter and more present. I've always had the unwritten rule that a workstation type pedal should have as many Preset slots at least as it has algorithms - for all the algorithms should be brilliant and brilliantly usable - and you should want at the very least - to have your preferred settings presets for each! Note that the Empress Reverb is engineered to sound already amazing with all dials set to their mid-position / noon. So you're best off starting from that basis and then tweak the knobs in either direct as appropriate!With the exception of the feature-rich Eventide Space, which is positively bristling with rotary encoders, most reverb pedals feature just a few easy-to-understand controls.