Strymon Reverb Pedals

 
 
Strymon BigSky Reverberator
Reverb Pedal
  Strymon blueSky Reverberator
Reverb Pedal
  Strymon Flint Tremolo & Reverb Pedal
Using the fundamentals of acoustical science as our beacon, we carefully studied and scientifically analyzed reverb technology from the past fifty years. We faithfully captured the essence of these classic sounds, and forged ahead to dream up our vision of reverbs from the future.   The philosophy behind blueSky is simple—take a ridiculously powerful SHARC DSP and dedicate it to one thing only: producing the most lush, majestic and stunning reverbs ever. blueSky is equally at home on top of a studio console as it is in front of a tube amp.   Equal parts inspiring reverb pedal and throbbing tremolo pedal. Flint delivers the soothing, pulsating, and hypnotic effects that were pioneered in vintage amplifier tremolo circuits, along with three classic and completely unique reverb algorithms.
         
   
         


   
$479 at the Strymon Store   $299 at the Strymon Store   $299 at the Strymon Store


Blog Posts Tagged ‘reverb pedal’

BigSky factory preset settings list

Posted by Ethan

BigSky factory preset list PDF - downloadHi BigSky users—many of you have asked us to put together a detailed list of the BigSky factory preset settings. Here is a PDF that contains settings for all of the factory presets. :)

download BigSky factory preset list PDF

 

 




Artist Feature: Strymon + Keyboards = <3

Posted by Angela

What do you get when you combine Strymon gear, synths and some creative minds? Check out some artists we have enjoyed recently with their mad keyboard and synth skills.

 

Peter Dyer joined us here at the Strymon shop and brought with him a ridiculous arsenal of cool keyboards. When he arrived his car was loaded up with a Dave Smith Prophet 12, Nord Stage 2, Korg Volca Keys, Arturia Microbrute, and the Therevox ET 4.3. We had a ton of fun recording these sound clips with him, and enjoyed hearing the many unique sounds he put together with BigSky.

 

Seif Sherif – Musician and visual artist Seif Sherif shared this picture of his Korg MS-20 and El Capistan.

 

Dylan Thomas
Check out this great tour photo that Hillsong United’s Dylan Thomas sent us.
hillsong

 

Jonì Velásquez
We came across this picture that Jonì Velásquez hash-tagged us on and enjoyed all the Strymon synth goodness going on.

 

Yasmin Hadisubrata
Yasmin Hadisubrata hash-tagged us for this one which was shot while he was getting ready for his tour with Ivy Quainoo.

 

Scott Brown
Scott Brown took this atmospheric picture while experimenting with some drone sounds, hope we get to hear some of it!

 

TheStrangeAgency
TimeLine, BigSky and 5 Novation Bass Stations, yep you heard us right, 5 Novation Bass Stations. Got to check this out.

 

Edwin Lucchesi
Well this might be cheating putting this in the Keyboard/Synth feature, but it is crazy cool and we live in the digital age now and this Virtual ANS is a software simulator of the Russian synthesizer ANS. So that’s fair! Enjoy :)

 

Tim Oliver
Tim Oliver’s Roland Paraphonic-505 is full of wonder and that just builds up with the addition of El Capistan. Get taken on a wonderous journey while you listen to this one.

 

Jon Carolino
Jon Carolino’s videos have a way of soothing you into a nice calm. This one especially can help bring your heart rate down and you can just sit back, close your eyes and relax.

 

zibbybone
We’d be pleased if most of our “just noodling” turned out this beautiful. Noodle away zibbybone, we could listen for hours.

 

Trygve Stakkeland
Simple, beautiful and can we say even a little haunting.




BigSky reviews!

Posted by Ethan

BigSky ReverberatorThe reviews for BigSky are now appearing through the clouds of the interwebs, and we’re incredibly excited to hear what people have to say.

Featuring 12 unique reverb machines – from rooms, halls, and plate reverbs to “cloud”, “bloom” and “magneto” and more – “Big Sky is something of a triumph, producing hyper-realistic rooms, ambient space trips and everything in between with ease and finesse,” writes Sound on Sound magazine.

» Read the Sound on Sound review

Magazine logos - Sound on Sound, Premier Guitar, SonicState, Best Guitar Effects

Our friends at Premier Guitar think that BigSky is a “virtual mad-scientist lab for those who are endlessly fascinated with the possibilities of audio signals bouncing off unseen objects—and then being twisted, warped, chopped, and vaporized.” It’s so great to hear that what they call “otherworldly and authentic vintage tones” within BigSky provoked such a colorful and evocative reaction.

» Read the Premier Guitar review

Gabriel from Best Guitar Effects attended our recent Strymon Social event, and used that opportunity to spend some time talking with our co-founders Gregg, Dave, and Pete. To learn about his “intel-gathering reconnaissance mission” at the Strymon labs, click on over to his incredibly in-depth BigSky review. We’re pleased to learn that he ranks BigSky as “simply one of the best reverb processors available today.” And we’re glad to hear his praise for the wealth of “studio-grade power” in it’s performance-friendly form-factor.

» Read the Best Guitar Effects BigSky review

Guitarist magazine also has some very nice things to say about BigSky. They noted that the reverberations within BigSky “make your jaw drop and your playing soar” and that it makes them “want to write poetry to the soundtrack of its glorious ambience.” We’re so glad to hear that BigSky got their creative juices flowing!

» Read the Guitarist BigSky review

We’re incredibly honored that BigSky has received the SonicState Best Effect Pedal of 2013 award, with their team noting “everything about it is stunning.” When it comes to creative inspiration, they cited the real-time tweakability of BigSky as being “on a different level to any reverb we’ve tried before.” And they totally made us blush when they said our “products sound great, they look great, they’re perfectly engineered, and they essentially fit a whole studio rack’s worth of effects and patches into a tiny little box for using on the road.” Thanks guys, we’re so glad you’re enjoying what we’re up to here in the labs! :)

» See SonicState‘s Best Effect Pedals of 2013




Enter to win a Strymon holiday care package!

Posted by Ethan

Contest has ended. Stay tuned for other giveaways! Congratulations to:
Wayne Paterson — Toronto, Ontario, Canada — (Grand Prize Winner)
Adam Smale — New York, NY, USA — (Second Prize Winner)
Arturo Padilla — Encinitas, CA, USA — (Runner Up)
Jason Waggoner — Clarkston, MI, USA — (Runner Up)
Matt Ness — Louisville, KY, USA — (Runner Up)
Allan Williams — Maffra, Victoria, Australia — (Runner Up)
Ron Rosenberger — Newton, PA, USA — (Runner Up)

Present from StrymonNow that the holidays are upon us, we wanted to give thanks and celebrate the season by giving you the chance to win a Strymon holiday care package.

Enter to win a Grand Prize package consisting of our brand new BigSky Reverberator, El Capistan dTape Echo, our OB.1 Optical Compressor & Clean Boost, plus our Strymon “Clear Skies Ahead” t-shirt, and a nice cozy Strymon American Apparel hoodie. I’m not sure what we were thinking— that’s over a $1000 value!

Second prize is our OB.1 Optical Compressor & Clean Boost, “Clear Skies Ahead” t-shirt, and a Strymon hoodie. And five Runner Ups will receive a t-shirt! :)

All you need to do is fill out the form below. Contest ends on Wednesday December 11. Good luck and happy holidays.

Enter to win a Strymon Holiday Care Package!

The rules:

  • Enter the contest form below.
  • Please only enter once. Entering more than once will not improve your odds.
  • That’s it!

Grand prize:

One winner will receive:
grand prize

Second prize:

One winner will receive:
second prize

Runner Up Prizes:

Five winners will receive:
Strymon Clear Skies Ahead t-shirt BigSky

The terms:

Enter the contest:




And the #strymonfavorite contest winners are…

Posted by Angela

Just about a month ago, we asked you to show us your favorite thing about your music or your sound, and enter to win a Flint Tremolo & Reverb and a Tap Favorite combo. The contest entries have been great, and a ton of fun to look through, listen to, and watch.

I don’t think I can express how difficult it was to choose the winners for this contest. There were so many excellent entries. But as always there has to be a winner, so we sat down and picked one video winner, one photo winner and one Vine winner. Yep, that’s right, we added a third winner, because it was too difficult to just pick two.

But for now, I’m sure you are yelling, “TELL ME WHO THE WINNERS ARE!!”


» Click here to read the rest of the article »




Enter to win Flint Tremolo & Reverb and Tap Favorite

Posted by Ethan

Contest has ended. Click here to see the winners. Stay tuned for other giveaways!

Enter to win a Flint Tremolo Reverb and Tap Favorite comboShow us your favorite thing about your sound or your music, and enter to win.

Show us your creativity! Take a photo or shoot a video of something that best represents your favorite thing about your sound or music. It can be anything that inspires you, or makes you enjoy playing… a piece of gear, a guitar, a pedal, your favorite chord, your studio, rehearsal space, a song you wrote.

Post it on Twitter, Instagram, Pinterest, Vine, or YouTube, and tag it #strymonfavorite. We’ll choose two winners who will both get a Flint Tremolo & Reverb and Tap Favorite combo.

Contest runs until April 13, 2013. Official entry rules are below. Have fun! :)

The rules:

    • Take a photo or shoot a video of something that best represents your favorite thing about your sound or music.

 

 

  • That’s it!

The prize:

The terms:

Contest has ended. Click here to see the winners. Stay tuned for other giveaways!




Flint Tremolo & Reverb receives the Guitar Player Editors’ Pick award!

Posted by Ethan

Flint Tremolo and Reverb effects pedal

Sweet! We’re excited to announce that our Flint Tremolo & Reverb pedal has received the Guitar Player Editors’ Pick award.

“Featuring a powerful SHARC processor and a wonderfully voiced analog front-end, the Flint captures the magic of three different classic Fender-style tremolos as well as three different reverbs. From the phasey throb of the ’61 Harmonic Trem to the ’80s Reverb setting, the Flint is unbelievably musical and infinitely usable. It captures the surfy spring of Fender reverb combos from the ’60s and its take on early digital reverbs yields beautiful ambient options with every guitar and amp setup. Its small size, stereo outs, expression pedal input, and jaw-dropping digital renderings of hard-to-capture analog classics make it one of the most impressive boxes I’ve heard in a long time.” – Guitar Player, February 2013

We’re very honored that Guitar Player has deemed Flint worthy of their coveted award! New to Flint Tremolo & Reverb? Check out a few of our demo vids below.




Guitar Noize loves Flint Tremolo & Reverb!

Posted by Ethan

Flint Tremolo & Reverb - GuitarNoizeJon over at Guitar Noize spent some time with our Flint Tremolo & Reverb. We’re very happy to report that he really liked what he heard, and put together this extremely in-depth and well thought out video review.

“Simply put I love this pedal…” – Guitar Noize

Read the article, and check out the video demo below!




Pete Thorn’s Flint Tremolo & Reverb demo video

Posted by Ethan

If you haven’t seen and heard Pete Thorn’s amazing Flint Tremolo & Reverb video demo, you’re missing out. Take a listen!

Make sure to pick up a copy of Pete’s album, Guitar Nerd.




Enter to win a TimeLine, Ola, and blueSky!

Posted by Ethan

Contest has ended. Congratulations to Jeff Goldey from Parker, CO. Stay tuned for other giveaways!

Win 3 Strymon Pedals!We teamed up with The Deli Magazine and Guitar World to give away a tasty prize package— TimeLine Delay, blueSky Reverb and Ola Chorus/Vibrato! Head on over to the Guitar World website to enter to win. Their contest ends October 20. Enter to win now!

Enter to Win!

And if you’re in the Brooklyn, NY area on October 19-20, 2012, be sure to visit the 2012 Stomp Box Exhibit, put on by The Deli Magazine. We’ll have two complete Strymon pedal boards there for you to check out!

About TimeLine:

When we decided to create a studio-class stereo delay effects pedal, we knew we must go well beyond what has been done in the past. We spent months locked up in the Strymon sound design labs with an intense focus on dreaming up the most lush, creative, and musically inspirational delay effects ever heard.
[ learn more about TimeLine here ]

About Ola:

When we set out to design Ola dBucket Chorus and Vibrato, we knew that we wanted to take a high-performance SHARC DSP and dedicate all of it’s horsepower to doing one thing—providing the most lush and organic chorus and vibrato sounds ever heard.
[ learn more about Ola here ]

About blueSky:

The philosophy behind our blueSky Reverberator is simple—take a ridiculously powerful SHARC DSP and dedicate it to doing one thing only: producing the most lush, majestic and stunning reverbs ever.
[ learn more about blueSky here ]

Contest has ended. Congratulations to Jeff Goldey from Parker, CO. Stay tuned for other giveaways!




Flint Receives the Premier Gear award

Posted by Terry

Premier Guitar magazine cover October 2012

We’re very excited to announce that the Flint tremolo & reverb has received the Premier Gear award from Premier Guitar magazine. Check out the review by Charles Saufley here.




Flint production under way!

Posted by Ethan

The production of our Flint Tremolo & Reverb is now under way. We hope to start shipping to customers and dealers very soon. Thanks for your support! :) Here are some photos of the first Flint build:

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build

Flint Tremolo & Reverb build




Amplifier Tremolo Technology White Paper

Posted by Ethan

Flint Tremolo & ReverbSometimes to understand who you are, you have to go back to the beginning, back to where it all began. Before smart phones, before computers, before integrated circuits and the transistor—the only effects available to guitarists were tremolo and spring reverb. The guitar players of the day didn’t have the rainbow of colors that we have now.

But like a charcoal sketch, there is a stark beauty to the tone without the wash of effects that are now possible. Stripped down to the bare necessities, the contrast of the different tremolos becomes apparent. You feel the beating heart of the photo trem, the rolling waves of the tube trem and the hypnotic swirl of the harmonic tremolo.

Given the storied history of these circuits found within classic amplifiers of the 1960s, there was no doubt that we wanted to develop a studio-class pedal that faithfully delivers three of these iconic and unmistakable tremolo effects. We examined the sonic complexities and tonal interplay, and accounted for every last detail in our hand-crafted algorithms.

The result is the technology found in Flint Tremolo & Reverb. Pete Celi, our Lead DSP Engineer and Sound Designer illustrates the research and sound design process in the White Paper below.

 

Strymon Amplifier Tremolo Technology White Paper

Amplifier Tremolo Overview

Still incorrectly labeled as ‘vibrato’ in many cases, the tremolo effect is a cyclical amplitude (volume) modulation of the input signal. Although there are many cool tremolo effects that can be had by using a simple VCA (voltage-controlled amplifier) circuit and applying geometric waveforms (like sine, triangle, square, ramp) to modulate the amplitude, our interest is in exploring the unique, soothing, pulsing, hypnotic effect that comes out of vintage amplifier tremolo circuits.

There were three main variations that came about in the late ’50s and ’60s. The three types can be referred to as Harmonic Tremolo, Power Tube Tremolo, and Photocell Tremolo. These variations have unique characteristics that result from the very different ways that the effect is achieved

The LFO

One thing that these vintage trem types share in common is the LFO (low frequency oscillator) circuitry, which is generated by a classic positive feedback ‘phase-shift’ oscillator. A network of resistors and capacitors determine the rate of oscillation, and the resultant LFO signal is a mildly distorted sinusoidal signal.

FIG. 1 PHASE-SHIFT OSCILLATOR
FIG. 1 PHASE-SHIFT OSCILLATOR

 

As the LFO circuitry is common to all three trem types under investigation, we can see that LFO waveshape is not responsible for the very different sounds that result from the three implementations. Let’s look closer at the three types.

Harmonic Tremolo

The Harmonic Trem is actually not a pure tremolo effect. It is really a dual-band filtering effect that alternately emphasizes low and high frequencies. The end-result is a soothing pulse that has shades of a mild phaser effect combined with tremolo due to the nature of the frequency bands that are alternated. This circuit required two tubes to create a two-phase differential LFO that controls the gain of the two frequency bands, and then another tube to sum the two bands together. This implementation had a rather short period of availability perhaps due to the somewhat ‘expensive’ implementation. The basic idea is shown below:

FIG. 2 HARMONIC TREMOLO BLOCK DIAGRAM
FIG. 2 HARMONIC TREMOLO BLOCK DIAGRAM

 

One phase of the LFO signal is added directly with the low-band input signal, while the other phase gets added directly to the high-band signal. Essentially, the filtered signal ‘rides’ on top of the LFO signal on its way into the tube summing amplifier. This effectively changes the small-signal operating point of the filtered signal along the tube gain curve. When the LFO signal is at low voltages, the filtered signal will have more gain as the tube operates in its steepest gain region. Conversely, when the LFO is at higher voltages, the tube gain-curve flattens out, and the input signal experiences reduced gain. Since the two bands have opposite phase LFO signals, when one band is experiencing high gain, the other is experiencing low gain. When the two are combined, the opposite phase LFO signals cancel each other out, and the two alternating amplitude-modulated filtered signals comprise the output. This produces the tremolo effect of hearing a loud (bright) signal alternating with a soft (dark) signal.

Also, as a consequence of riding up and down the tube’s gain curve, the filtered signals experience slight changes in harmonic content due to the changing nonlinearities of the gain curve around the signal. This adds further complexity to the trem’s sound.

Power Tube Tremolo

Next in line was a more cost effective circuit that eliminated two tubes from the Harmonic Trem implementation. It used the LFO signal (no longer a two-phase LFO) to directly influence the power tube bias of the push-pull output stage.

FIG. 3 POWER TUBE TREMOLO BLOCK DIAGRAM
FIG. 3 POWER TUBE TREMOLO BLOCK DIAGRAM

 

In a push-pull power amplifier, two tubes are employed and biased so that they idle at substantially less than full power. This keeps power dissipation to a minimum when no signal is going through the amp, allowing them to provide power to the speaker more efficiently while increasing tube life. The guitar signal is split into opposite phases so that one tube conducts when the signal is positive, and the other tube conducts when the signal is negative. The two outputs are added together through the output transformer.

By applying the LFO to the bias, the power tubes are being biased into lower and higher idle currents. At low idle currents, the tubes are shutting off and signal gain (volume) is reduced. At higher currents, the tubes are running hot and higher gain results. This alternating gain produces the tremolo effect.

But there is more going on than just a change in volume. Secondary effects coming into play are crossover distortion as the tremolo volume heads towards zero and the tubes are shutting off. At the other end, increased power tube harmonic distortion occurs as the tremolo nears its maximum volume. The effects of power-supply sag also contributes to some of the dynamic response when playing through this kind of tremolo circuit, as it influences the relative bias point of the power tubes. All these things add up to contribute to the ‘magic’ of this trem circuit.

Photocell Tremolo

The Photocell tremolo uses a light-dependent resistor (LDR) to attenuate the input signal. The LDR is coupled with a miniature light bulb that is connected to the LFO. As the LFO oscillates, the bulb gets brighter and dimmer which in turn varies the resistance of the LDR. The varying resistance works with other circuit impedances to change the signal level.

FIG. 4 PHOTOCELL TREMOLO BLOCK DIAGRAM
FIG. 4 PHOTOCELL TREMOLO BLOCK DIAGRAM

 

The light element used in the classic photo-trem circuits in the 60s was a neon bulb which has a very fast response time, meaning it turns on and off very quickly and spends very little time in between. This produces a characteristic ‘hard’ sounding tremolo that is moving between two levels, almost like a square wave. The duty cycle (symmetry) of the tremolo depends on the characteristics of the bulb relative to the LFO voltages, but the classic Photo-trem circuits were tuned to spend most of their time at the higher output level (duty cycle >>50%, bulb is ‘off’), switching to the lower level only briefly during the cycle. At maximum intensity, a choppy trem results.

Also, as the photocell trem circuit is not buffered, the tremolo creates a varying load resistance in the signal path as the bulb changes the resistance of the LDR. This in turn has secondary effects on the signal’s frequency response that contribute subtle characteristics as well.

Capturing the Magic

We can see from the discussions above that the end result of these vintage tremolo circuits is much more than a simple cyclical volume fluctuation. The depth, warmth and overall vibe of each one of these tremolo types can only be created by giving consideration to the entire circuitry used in the process. For the harmonic tremolo, the interaction of the LFO with the input signal in relation to the preamp tube’s operating characteristics must be accounted for. The Power-tube tremolo must recreate the vintage push-pull power tube section including the phase-splitter, tube characteristics, and power supply considerations. The photocell trem must involve the proper bulb-LDR characteristics in relation to the LFO signal, along with secondary consideration of variable loading in the signal path. When these things are all properly accounted for, the difference from a simple VCA tremolo is apparent. The complex and subtle nuances come to life, producing the mojo of their vintage amp brethren.




Flint Reverb Summary Paper – Three Classic Reverb Types

Posted by Ethan

Flint Tremolo & ReverbThe magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. Our new Flint Tremolo & Reverb pedal delivers three classic tremolo circuits, along with three completely unique and complimentary reverb types.

You get the classic ’60s Spring Tank Reverb, the inventive ’70s Electronic Plate Reverb, and the nostalgic ’80s Hall Rack Reverb. Pete Celi, our Lead DSP Engineer and Sound Designer illustrates the research and sound design process that went into creating our reverbs in Flint.

 

Flint Reverb Summary Paper – Three Classic Reverb Types

The ’60s Combo Amp Spring Tank

The full-size 2-spring tank was commonly used in vintage amps, and it continues its popularity today for its classic tones. The 2-spring tank uses spring segments of differing delay times (a function of the mass and tension of the spring), which adds to the complexity of the sound and smooths out the time and frequency response of the reverb. Contributing greatly to the sound are the input (driving) and output (recovery) tube circuits. These circuits are designed to reduce low-end boominess and to minimize coupling of the low- frequency cabinet resonance into the tank. The high frequencies roll off naturally due to the limits of the spring’s ability to transmit the shorter wavelengths of the higher frequencies.

FIG. 1 SPRING TANK REVERB
FIG. 1 SPRING TANK REVERB

 

The signal from the driving circuit drives a coil which in turn produces a fluctuating magnetic field that moves a magnet attached to the spring. This results in a twisting wave that travels down the spring. The time it takes for the wave to travel down the spring is a function of frequency, with lower frequency waves traveling down the spring more quickly than higher frequencies. This accounts for the ‘drippy’ or ‘boingy’ sound that the reverb produces when given a percussive attack. At the other end of the spring, the signal is recovered by the inverse process which includes coils, magnets, and a recovery circuit. In addition to being recovered, the wave will continue to reflect back and forth along the spring, creating a wash of reverberation that evolves in time due to the frequency-dependent delay times of the spring. The length of time that the reverb lasts when given an impulsive input is known as the ‘decay time’, which is controlled by physical dampers that absorb energy from the spring.

At low mix levels, the 2-spring tank adds a depth and dimension to the sound. Generally speaking, the 2-spring combo-amp reverbs tend to sound a bit less splashy and trashy than their 3-spring stand-alone counterparts at the extremes, but add a full, integrated explosion of sound when cranked up.

The ’70s Electronic Reverb

During the 1970s, digital electronic systems advanced to the point where high-quality real-time electronic reverberation was possible. A single memory chip was capable of storing 1024 bits, and the possibilities seemed endless. The most famous early electronic reverb was a $20,000 plate-style reverb that used eighty(!) of these memory chips. The amazing hardware-based algorithm used multiple delay- lines configured in parallel, with each delay featuring multiple output taps and filtered feedback paths.

FIG. 2 SIMPLIFIED ELECTRONIC PLATE REVERB STRUCTURE
FIG. 2 SIMPLIFIED ELECTRONIC PLATE REVERB STRUCTURE

 

The lengths of the delay lines and individual taps were derived mathematically to produce the most natural reverberation. The reverb algorithm also employed modulation by mixing various taps under internal control to create changes in reflection phases to further reduce undesirable resonances and add depth. The result is a rich, smooth reverb with a quick build-up in density due to the summation of the many parallel output taps.

The ’80s Hall Studio Rack Reverb

By the late ’80s, continued advances in digital ICs and microprocessors lead to (relatively) low-cost digital reverbs that could run many different reverb algorithms and allowed for preset storage and deep parameter editing. Cost sensitivity and the limited available processing power of the day led to the necessary invention of efficient algorithms with minimized computational and memory requirements. To create a Hall-style reverb, a well-practiced technique was to create an early reflections section that fed into a late reverb generator.

FIG. 2 SIMPLIFIED '80s HALL REVERB
FIG. 3 SIMPLIFIED ’80s HALL REVERB

 

A simple multi-tapped delay line was sufficient to create early reflections. The late reverberation was accomplished by a regenerating ‘series-loop’ of delays, all-pass filters, and low-pass filters. Inputs could be injected into the loop in more than one place, and the outputs might consist of the summation of several points from the loop. Delay-line modulation was employed to reduce artifacts and achieve a smoother, more pleasing decay. These hall reverbs have a signature sound of distinctive early reflections followed by the slowly-building density of the late reverberation. The modulation adds an increased sense of warmth and depth.

Enter the World of Flint

The three reverb types in Flint pay homage to these three classic reverb sounds. While not focusing on any specific recreation, these classics served as philosophical and sonic guides in the creation of our ’60s, ’70s and ’80s reverb types.




We’re working on something new….

Posted by Ethan

Hey there! We’re hard at work on something new called Flint. We’re not quite ready to release it yet. To be notified when we do, please sign up for our email newsletter. Thanks! :)






 
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