Posts Tagged ‘Reverb’

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.

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.




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.com

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 DolphinStreet.com!

Posted by Ethan

blueSky ReverberatorNow’s your chance to win one of our blueSky Reverberator effects pedals. Our friends over at DolphinStreet.com 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!

 
 




Gearwire.com 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:

Gearwire.com Video Demo — Ola bBucket Chorus / Vibrato

Gearwire.com Video Demo — Orbit dBucket Flanger

Gearwire.com Video Demo — Brigadier dBucket Delay

Gearwire.com 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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