Signature Fender spring reverb sound?

Dave McDowell

Dave McDowell

Member
I'm trying to get a spring reverb sound that sounds as natural and close to the Fender spring reverb as possible. Currently, the sound is "pretty close" and even though it probably wouldn't be noticed "in the mix", I can definitely hear the difference in my IEM's. For one thing, I'm having trouble with the way the reverb "sustain" cuts off unnaturally at the end. If I increase the "Time" or "Size" controls, I'm getting more Reverb than I want. If I turn those down, I hear the unnatural cutoff at the end. I'm pretty new at this, so I just may not know which controls I should be adjusting.

Any suggestions on what parameter(s) I can adjust to fix this, or does someone out there have a patch they can share? Heck, I'd even be willing to pay for it.

Another related issue is that we do play a few "surf" tunes and I'm having trouble getting that signature Fender "splashy" "surfy" spring reverb sound on a patch when I need it for those tunes. Again, any suggestions? Thanks.
 
Putting it between the amp and cab sounds more "authentic" to my ears. Narrowing the stereo field can help too.

Seems as if the parameters on the Basic page have gotten you "pretty close". So, go through the advanced parameters one at a time to hear what they do and adjust to taste. Late decay will tailor the cutoff character, diffusion will affect the prominence of the spring bounce and how it cuts through. The "splash" aspect is addressed mostly with early and late levels and time: then fine tune with decay and diffusion. predelay gives or removes slapback. Wall diffusion softens and suggests some room tone. Try a bit more mod rate depth for surf:

It may seem daunting at first: but I'm thankful there's so much adjustment. It can really be finessed to perfectly fit each song: No short cuts, though: just dive in; different settings for different tempos, amp tones, even different guitars.
 
Dave McDowell said:
I'm trying to get a spring reverb sound that sounds as natural and close to the Fender spring reverb as possible. Currently, the sound is "pretty close" and even though it probably wouldn't be noticed "in the mix", I can definitely hear the difference in my IEM's. For one thing, I'm having trouble with the way the reverb "sustain" cuts off unnaturally at the end. If I increase the "Time" or "Size" controls, I'm getting more Reverb than I want. If I turn those down, I hear the unnatural cutoff at the end. I'm pretty new at this, so I just may not know which controls I should be adjusting.

Any suggestions on what parameter(s) I can adjust to fix this, or does someone out there have a patch they can share? Heck, I'd even be willing to pay for it.

Another related issue is that we do play a few "surf" tunes and I'm having trouble getting that signature Fender "splashy" "surfy" spring reverb sound on a patch when I need it for those tunes. Again, any suggestions? Thanks.
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This is one of those few things not quite there yet in the Fractal. By that I mean you can't accurately replicate the Fender builtin reverb sound.

The Fractal reverbs are extremely high quality and versatile though.

As you say you can get close, but not quite.

Some things I've tried and gotten close:

1. Rev in parallel before the amp block.
2. Rev -> Comp in parallel after the amp block.
3. Rev in series before the amp block and Rev -> Comp in parallel after at the same time.

I found the Rev -> Comp interesting because it adds a little oomph to the reverb and lets you control the tail differently than the reverb params in the block.
 
barhrecords said:
This is one of those few things not quite there yet in the Fractal. By that I mean you can't accurately replicate the Fender builtin reverb sound.

The Fractal reverbs are extremely high quality and versatile though.

As you say you can get close, but not quite.

Some things I've tried and gotten close:

1. Rev in parallel before the amp block.
2. Rev -> Comp in parallel after the amp block.
3. Rev in series before the amp block and Rev -> Comp in parallel after at the same time.

I found the Rev -> Comp interesting because it adds a little oomph to the reverb and lets you control the tail differently than the reverb params in the block.
Click to expand...
thanks.....is this more or less what you had in mind for option 1? it sounds damn good to me, haven't been able to bond with the spring verbs til now.Screen Shot 2017-03-24 at 8.39.23 AM.png
 
yes, actual spring reverbs go through a tube stage in the amp, which gives them a certain character as they're slightly compressed. that's why putting them in front of the amp sounds more authentic. i like the idea of running them through compression after the amp. i might actually try running a spring reverb into the tube pre amp block and see how that sounds
 
simeon said:
yes, actual spring reverbs go through a tube stage in the amp, which gives them a certain character as they're slightly compressed. that's why putting them in front of the amp sounds more authentic. i like the idea of running them through compression after the amp. i might actually try running a spring reverb into the tube pre amp block and see how that sounds
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check this guys sound...
https://forum.fractalaudio.com/threads/arch-top-jazz-tone.125496/#post-1494094
 
i'm not sure how that applies. was he running the reverb into the tube pre in parallel? i'm not sure he was...i think he was just using it for the core tone. i like the tube pre for jazz tones, as well.
 
simeon said:
yes, actual spring reverbs go through a tube stage in the amp, which gives them a certain character as they're slightly compressed. that's why putting them in front of the amp sounds more authentic. i like the idea of running them through compression after the amp. i might actually try running a spring reverb into the tube pre amp block and see how that sounds
Click to expand...

I've tried the tube pre, it didn't work out for me, curious to see if you get something going.

I've also tried various drive pedals: Rev -> Drive -> Comp, Rev -> Drive, but Rev -> Comp sounded best to me so far.

I have not tried the new opto comp models though. A drive or saturation control on the comp block would help for this.
 
that's interesting

you can create saturation by using the tape drive. set the gain between about 2 and 3.5

so maybe tape drive > comp might be worth a go
 
simeon said:
that's interesting

you can create saturation by using the tape drive. set the gain between about 2 and 3.5

so maybe tape drive > comp might be worth a go
Click to expand...

I guess to my ears, its needs quite a bit of tube saturation, tape drive didn't do it for me either.

The 3 and 4 knob tube drivers weren't quite it either even though they have a ton of gain on tap.

I ended up back on comp.
 
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I suppose the only way to appear more authentic is to place the reverb circuit within the amp circuit. it's not quite the same being fore or aft. Not of concern to me: Having the spring reverbs in a separate block is more versatile. In practical use I find they serve some material better after the amp, some before. There is also ducking available: so those arpeggios can ride up on the waves of splash while still keeping the mix level pretty high.
 
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