Reverb Tweak Tip - "best of both worlds" :o)

To anyone that has not gotten into this and used these insights to work with the reverb, man I have to say... do it.

Even in mono, the reverb doesn't obscure the guitar's tone at all. The sense of space is palpable and doesn't mask anything in your guitar tone signal chain.

Amazing.

Thanks for sharing you knowledgeable folks. You have no idea how helpful this thread has been to me personally. Wow.
 
Radley,

Speaking of recording direct, have you ever gotten a new CD produced since Heartsongs?

loving your work
-richard
 
Awesome tutorial, I've only had a short play so far but it really seems to bring my patches to life! Thanks for taking the time to post.

Spence
 
Scott Peterson said:
To anyone that has not gotten into this and used these insights to work with the reverb, man I have to say... do it.

Even in mono, the reverb doesn't obscure the guitar's tone at all. The sense of space is palpable and doesn't mask anything in your guitar tone signal chain.

Amazing.

Thanks for sharing you knowledgeable folks. You have no idea how helpful this thread has been to me personally. Wow.

Can't agree more :cool: . This would land in the "breakthrough" category for me. I really like reverb, and it finally sounds right :!:
 
It makes me very happy that you guys are finding these techniques helpful - thanks for the 'support' ;) I tried to share the 'why we do' as well as the 'what we do', because once we understand the underlying concepts, the sky is the limit. It is important to note that the AFX is probably the only guitar multiprocessor that allows this level of Verb tweaking.

jiagap said:
Radley,

Speaking of recording direct, have you ever gotten a new CD produced since Heartsongs?

loving your work
-richard

Richard,

I must shamefully admit that I have STILL not released any more solo CDs since Heartsongs. The funny thing is that even Heartsongs would not have been recorded if Sparrow records had not requested I do it. I have always been very content to be a band/session player, a single part of a bigger picture. The 'rub' is that I am also a songwriter, and many of my songs are instrumentals, and they will probably never be heard unless I personally record them - for this reason, I have always hoped to do some more solo CDs (I've got Oodles of material I could use). Obviously I stay pretty busy with Neil Diamond, but this is not an acceptable reason to neglect my own music....:( Lord help me.
 
Mark and bump for this very good information.
I knew most of this but I wasn't aware of the additive nature of the Tail Delay, didn't really use it so far....

THANKS

:idea:
 
the advanced parameter also has a value called "size".

from the manual:
SIZE - Sets the size of the spring, room, hall etc. This controls the length of time it takes for an echo
to bounce between the walls. Increasing this increases the echo time and also increases the delay
before the reverb starts. Small values smooth out the reverb, very small values can be used to obtain
a metallic sound. Large values can make the reverb more grainy as the time between the individual
repeats increases. Also, as the size is increased the reverb will become somewhat darker as the high
frequencies are absorbed more.
This control is important in that it actually sets the size of the room, hall, etc. that is simulated by
the algorithm. If you want the reverb to sound like a huge concert hall then best results will be
obtained by increasing this value. Of course there are no rules and you can set the size small and the
time high to obtain some interesting effects.

This effects pre delay correct? and this value is different dependant upon the main verb selected (to account for more delay from larger spaces).
Just curious to what people are doing with this parameter, if tweaking it at all.
 
Just another +1 on Radley and Jay's combined insights re achieving clarity thru the separation of early reflections and later tails.

The 40/110 idea is a great point of departure for tweaking. Within minutes, i really improved the clarity of several 'verbs that I thought I had dialed in pretty well. I'm pretty impressed, grateful, and enthused!

Best Regards,

Paul
 
Here's another big thank you to Rad and Jay. This falls in the breakthrough category for me as well. I could never get the reverb to sound right to my ears. I tried everything including Cliffs perceptual reverb tricks but was never happy with the results.

Now the I can get this much clarity out of the verbs I find myself mixing my delays lower. I've never gotten better sound out of my Ultra. It's truly inspirational! Now my sound has the same reverb that I hear inside my head. :eek: Let me rephrase that. Oh you guys know what I mean.

It must be tough having Neil Diamond taking up so much of your time. I wish I had such problems!

Gotta go, Paul McCartney is on the phone. :lol:
 
Andrew - Nice work... your sound on that clip has a warm natural ambience & is 'believable' (amplike) - to me, that is the real test ;)

Regarding this Verb technique: Some folks might find it helpful to dial in the Early level settings first, then add the long verb to taste. This is a simple matter of dropping the (long) Reverb to it's minimum level (which is basically inaudible), until you have your Early settings nailed, then adding back the long verb as desired.
 
Thank you, Jay and Radley, for sharing this information on reverb patches. I don't exactly understand the results of the various actions, but I spent alot of time last night playing with these reverb parameters (tail, esp.) and the results were just great. Others listening remarked about how great the "tone" was.

-- Todd
 
Did you record this direct? If so, talk about "in the room" - this sounds exactly is if you're miked. The sound quality is fantastic.

Jay Mitchell said:
Here's a very quick clip I did with a 'verb a setting I'm now using in several presets:

http://jay-mitchell.com/'Verb%20Demo.mp3

I intentionally dialed it in wetter than I normally would (reverb mix is set at 26%) to demonstrate the retention of articulation you get with this kind of setting.
 
tlainhart said:
Did you record this direct? If so, talk about "in the room" - this sounds exactly is if you're miked. The sound quality is fantastic.

Jay Mitchell said:
Here's a very quick clip I did with a 'verb a setting I'm now using in several presets:

http://jay-mitchell.com/'Verb%20Demo.mp3

I intentionally dialed it in wetter than I normally would (reverb mix is set at 26%) to demonstrate the retention of articulation you get with this kind of setting.

Yes - Jay's sample is a nice, clear example of how delaying the long verb allows the note attacks to be heard clearly and fully. The first time I became aware this reverb effect was on a recording of a powerful black gospel singer - it seemed like the reverb was 'exploding' after every word - extremely dynamic, yet clear. :)
 
Radley said:
Andrew - Nice work... your sound on that clip has a warm natural ambience & is 'believable' (amplike) - to me, that is the real test ;)

Regarding this Verb technique: Some folks might find it helpful to dial in the Early level settings first, then add the long verb to taste. This is a simple matter of dropping the (long) Reverb to it's minimum level (which is basically inaudible), until you have your Early settings nailed, then adding back the long verb as desired.

Thanks, this knowledge is very powerful.
I can get my guitar to mix much easier into any material now.
But I want to understand more:

Pre-Delay is the same as early reflection... right?
It simulates the early reflections from mainly the side walls.... correct?

Why is it that with guitar amp we set the Pre-Delay level so high?
Are we simulating "building space" with this or something else?

:?:
 
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