OMG Those Reverbs

Sounds stunning!!

I think you could probably get very close with an AFX II, however you would probably have to build the patch differently to how the AFX III would be setup; and you wouldn't get as near as much flexibility on the AFX II but the core sound you would probably get quite close.
 
iaresee said:
Checked. Wet signal is still a sum of L+R coming into the block. Dry signal panning is preserved at the output.
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Ok, bummer. I thought I had read elsewhere on this site that Axe 3 verb blocks were upgraded to full stereo.

I guess I'll be keeping the Bricasti and my line mixer as there is no AES FX block on the 3 either. My rack is getting fat and heavy again..:-(
 
stereotactic said:
Ok, bummer. I thought I had read elsewhere on this site that Axe 3 verb blocks were upgraded to full stereo.
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I'm going to confess not understanding why this is needed from a single reverb block. You can do it using two reverb blocks, no problems there. And the III can run two, high resolution, reverb blocks with plenty of room to spare for all the other stuff you need in a preset. I've got 90% CPU presets in the XL+ that are coming in below 70% on the III so there's room for another reverb block in those monster presets that the XL+ couldn't handle without making signal chain compromises.

I also don't get the desire for this L/R separation on wet signal. Rooms don't pan the reverb hard left and right if the source is coming from hard left or right. But what do I know, right? Not much...that's what. What's a good reference for where this true stereo reverb can be heard? I'd like to understand better why this gets brought up often enough.

I guess I'll be keeping the Bricasti and my line mixer as there is no AES FX block on the 3 either. My rack is getting fat and heavy again..:-(
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¯\_(ツ)_/¯ why sell gear you don't have to sell, right? The M7 is a delicious unit. I'll bet dollars to dimes you can at least start leaving it at home if you go III.
 
iaresee said:
I'm going to confess not understanding why this is needed from a single reverb block. You can do it using two reverb blocks, no problems there. And the III can run two, high resolution, reverb blocks with plenty of room to spare for all the other stuff you need in a preset. I've got 90% CPU presets in the XL+ that are coming in below 70% on the III so there's room for another reverb block in those monster presets that the XL+ couldn't handle without making signal chain compromises.

I also don't get the desire for this L/R separation on wet signal. Rooms don't pan the reverb hard left and right if the source is coming from hard left or right. But what do I know, right? Not much...that's what. What's a good reference for where this true stereo reverb can be heard? I'd like to understand better why this gets brought up often enough.


¯\_(ツ)_/¯ why sell gear you don't have to sell, right? The M7 is a delicious unit. I'll bet dollars to dimes you can at least start leaving it at home if you go III.
Click to expand...


Thanks for checking the 3 for summing.

As for the number of verb blocks, my main overdrive sound has always involved 2 verbs, one hall type and one room, in parallel, both mostly dry. I also always have two amps, L R up front to help achieve a more convincing doubling effect, and often chorus. In order to keep things as clear, big and punchy as possible, I have found that keeping the L R signal path as discrete as possible gives the best result. The hall verb helps emphasize and extend overtones, while the room sound focuses the lower frequencies, localizing the sound and creating a proximity/presence effect. It's all about getting the benefits of reverb without washing out details, like the 2 different L R amps and how they react differently to high and low strings, palm muting, or the modulation and image of the Axe 2 stereo analog chorus, which is the best I've ever heard in terms of harmonics and fidelity.

As for clear evidence, I also have a main clean sound and use a lot of panning delays. Try sending those into the Axe verb block, then try the same delays sent discrete L R into 2 identical verb blocks mono ins, stereo outs. I definitely hear a difference right away...
 
“True stereo”; the modern version of true bypass switches, aka something we can talk about/obsess over in gear forums.


Not that there is anything wrong with that
 
stereotactic said:
Thanks for checking the 3 for summing.

As for the number of verb blocks, my main overdrive sound has always involved 2 verbs, one hall type and one room, in parallel, both mostly dry. I also always have two amps, L R up front to help achieve a more convincing doubling effect, and often chorus. In order to keep things as clear, big and punchy as possible, I have found that keeping the L R signal path as discrete as possible gives the best result. The hall verb helps emphasize and extend overtones, while the room sound focuses the lower frequencies, localizing the sound and creating a proximity/presence effect. It's all about getting the benefits of reverb without washing out details, like the 2 different L R amps and how they react differently to high and low strings, palm muting, or the modulation and image of the Axe 2 stereo analog chorus, which is the best I've ever heard in terms of harmonics and fidelity.

As for clear evidence, I also have a main clean sound and use a lot of panning delays. Try sending those into the Axe verb block, then try the same delays sent discrete L R into 2 identical verb blocks mono ins, stereo outs. I definitely hear a difference right away...
Click to expand...
Want to share some presets with me? You can DM me if you don't want them on the public interwebs. I'd love to try your sounds out, but in the III.
 
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