Posts Tagged ‘Reverb’

This Week’s Preset – Zave Demonte of Kerbera

Posted by Hugo

For this edition of This Week’s Preset, Zave Demonte of Kerbera has sent us four BigSky Reverb presets that he uses in the band’s latest single “Ghost Town.”  Zave makes extensive use of BigSky for his guitar tones on the band’s EP She Saw Bridges Burn, which features “Ghost Town.”  Check out the video for “Ghost Town” below to hear the different BigSky reverb presets Zave uses on his guitar.

1) Ghost Town Swell

“Ghost Town Swell” (using the Swell reverb machine) starts off the song and is also used in the background during the entire intro theme, every chorus, and in the middle section after the first chorus.  The effect blends the guitar smoothly into the mix during both the calm and the heavier parts of the song.

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Get to know BigSky with Rabea Massaad, Pt.4

Posted by Angela

This is it! It’s time to grab your guitar and BigSky and spend one more Monday hanging out with Rabea Massaad as he demos the last three reverb machines in BigSky — Magneto, Nonlinear and Reflections.

If you missed the last three parts, start here. :)

With this being the last blog in the Rabea BigSky demo series, we just want to send out a huge thank you to Rabea for making these magnificent videos.

Here they are:

Strymon BigSky – Magneto Reverb

Strymon BigSky – Nonlinear Reverb

Strymon BigSky – Reflections Reverb

Get to know BigSky with Rabea Massaad, Pt.3

Posted by Angela

We are now headed into Pt.3 of Rabea Massaad‘s demo series of BigSky. Hope you had fun last time exploring the classic Room, Hall, Plate, and Spring Reverbs, but if you missed last week’s demos click here.

In these demos, Rabea is going to take you on a splendid journey through the more textural and atmospheric Swell, Bloom, Cloud, Chorale and Shimmer Reverb machines. We always recommend grabbing your guitar and BigSky so that you can follow along and try out some of the things that Rabea shares with the below reverb effects.

Strymon BigSky – Swell Reverb

Strymon BigSky – Bloom Reverb

Strymon BigSky – Cloud Reverb

Strymon BigSky – Chorale Reverb

Strymon BigSky – Shimmer Reverb

Get to know BigSky with Rabea Massaad, Pt.2

Posted by Angela

If you were able to stop yourself from watching all 14 of the BigSky videos that Rabea Massaad has created after reading Pt.1 of this blog series, then you are ready for the next round. :)

If you missed Pt.1, head over here and check it out.

In these next videos, Rabea demos some classic tones featuring the BigSky’s Room Reverb, Hall Reverb, Plate Reverb and Spring Reverb. It is a total of just over 30 minutes of demoing, so grab a tasty beverage, your guitar and BigSky to explore along with and enjoy.

Strymon BigSky – Room Reverb

Strymon BigSky – Hall Reverb

Strymon BigSky – Plate Reverb

Strymon BigSky – Spring Reverb

Get to know BigSky with Rabea Massaad, Pt.1

Posted by Angela

rabeaWhen Rabea Massaad, from the band Dorje, shared with us that he wanted to do an in depth series on BigSky we were super excited—and for good reason.  Not only is Rabea an excellent guitarist, he also has a knack for demoing gear as he often does on his own, with Rob Chapman, and also with Dorje through Andertons music channel.

In part one of this blog series, Rabea introduces himself, gives an overview of BigSky, and sets up his following in-depth videos.  We appreciate Rabea’s work on these excellent demos, and we hope you enjoy them!

Strymon BigSky – Introduction

Strymon BigSky – Pedal Overview

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



Flint Receives the Premier Gear award

Posted by Ethan

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

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.



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.



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.



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.

5 Stars for blueSky Reverberator!

Posted by Ethan

blueSky Reverberator

The guys over at Guitar-Muse recently spent some time with our blueSky Reverberator. We’re very happy to report that they really liked what they heard! Check it out:

“An exquisitely designed, painstakingly constructed reverb box that can hold its own against some of the finest rack units.”

“This unique stompbox, coveted by surf-rockers and shoegazers everywhere, delivers studio-quality reverb with an unparalleled array of features.”

“A spacious, shimmering five stars out of five for what I firmly believe to be the best reverb pedal on the market.”

Guitar-Muse blueSky review

Check out the full review below:

Read the review!

Friendly Fires loves their blueSky Reverberator

Posted by Ethan

Ed Macfarlane of the English dancerock band Friendly Fires just sent us a photo of his blueSky Reverberator in the studio! They’ve been using blueSky all over their new record. We’re looking forward to hearing what they’ve crafted!

Friendly Fires - blueSky Reverberator

I love the video for their song “Skeleton Boy”… check it out:

Enter to win a blueSky Reverberator at!

Posted by Ethan

blueSky ReverberatorNow’s your chance to win one of our blueSky Reverberator effects pedals. Our friends over at are offering up a blueSky. Head on over there and enter to win!

While you’re at it, be sure to check out the many guitar video lessons that they have available.

Contest ends October 21. Ok, go!


Enter to Win! video demos of Ola, Orbit, Brigadier and blueSky

Posted by Ethan

Owen over at Gearwire recently put four Strymon pedals through their paces. Check out his demos of Ola Chorus & Vibrato, Orbit Flanger, Brigadier Delay and blueSky Reverberator: Video Demo — Ola bBucket Chorus / Vibrato Video Demo — Orbit dBucket Flanger Video Demo — Brigadier dBucket Delay Video Demo — blueSky Reverberator

blueSky and El Capistan – drippy, shimmery music video

Posted by Ethan

Hey everyone… You may know me as the Strymon marketing guy, but i’m also a guy that spends way too much time writing songs and making videos. Here’s a piece I put together the other day that starts out with an old Univox drum machine running into both blueSky and El Capistan. The knobs slowly get cranked up all the way to create a wash of drippy shimmery drum machine echos.

I decided to turn this drum machine effects noise fest into a more involved piece, so I added piano, guitar, drums, vocals and some synths. El Capistan is also used heavily on the Roland Juno-6 and Yamaha DX21 synth parts. Hope you dig it.

blueSky reverb – plate shimmer demo

Posted by Ethan

Here’s a demo of our blueSky Reverberator reverb effects pedal, going through several variations of the plate shimmer mode, from mild to infinite.

View in HD for highest quality audio. Setup is Damage Control Demonizer tube preamp » blueSky Reverberator » stereo into Pro Tools. We’ll have more demos of blueSky coming over the coming weeks.

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