Separate names with a comma.
Discussion in 'THE Gretsch Discussion Forum' started by peterjcb, Feb 10, 2018.
Ah, you don't have the spring lock option...........
It's nothing you can't fix with crazy glue.
Annoying, but harmless.
I always forget to release it at the gig, the first song always is problematic.
I love spring reverb, but there are some great reverb pedals out there which doa great job. My TC HOF Mini is wonderful.
Just got home from trading a few mini pedals woth a friend for his digitech rv7. I forgot how much fun it was to play with your guitar awash in tides of glorious reverb. I turned it to hall, whacked everything up to ten and away i went. Bliss.
Hall reverb is the best.
Reverb is situational . Good for dead spaces, bad for reverb spaces. If you're playing Duane Eddy or surf, probably a little more is OK.
Some of the Surf/Instrumental Rock guys of the current era seem to overdo the reverb. In the heyday of Surf, there were some pretty reverb-laden songs, but not every song was played that way. Some were pretty mellow and didn’t rely on crashing springs in a Fender Tube Reverb to get their sound. Even the vaunted Fender “tank” does not have to be setup to be overbearing, it can function nicely as a nice, calm reverb for all-around use.
I’ve recently started listening to Hank Marvin and the Shadows. He did some amazing things with a Meazzi Tape Delay (which uses 5 heads). These are now replicated seven ways from Sunday in various DSP-based devices. Using two delay units in serial allows much the same effect to be achieved, setting a rapid, 130 ms, slap back in the second unit with a slower slap back in the first unit. However, even this seems to like a bit of hall reverb for shimmer.
Sometimes I like reverb because I’m a skinny black haired guy (and a lousy player). With the right reverb I can be like a Lee Marvin out on the plain. Drunk, lost, my horse about to give out on me (and also sound as though I’m playing with authority).
I may have an unusual view these things though.
Marvin's set up has always been my set up to aspire to.
A real analog tape echo would be my final thingy to play with.
And the Meazzi would be perfect.
Yeah yeah, a lot of stuffing around, but that's my ideal.
Someone said that artists have to suffer. Some stuffing around with a cranky tape echo, I can take.
Have you looked into the Stanley-FX Blue Nebula? It’s got a Meazzi emulation, a Binson emulation and a few others built in, and you can save your work as a preset.
My name is Mark and I am a CHEAP reverbaholic. Love reverb on my amps and have a handful of reverb pedals. I have gone for short periods of time without the effect but it is very difficult and I don't stay on the wagon very long. First comes a little echo and the next thing I know I am jiggling my Ampeg and find myself awash in glorious...well you know what I mean.
Whatever you do, don't even listen to a second of a Catalinbread Topanga, or you'll binge out on reverb. Don't go to YouTube and search out sound samples. Don't turn to crime to support your reverb habit.
Too late Mark. The Topanga sounds absolutely sweet. I now have to take another break from purchases to play some of my acquired stuff!
It is a great pedal. It has a nice hidden feature as well, which is that it can be used as true bypass or with a buffer. In my case, it's right up front and needs the buffer to drive through some of what follows it on the board, so I opened up the bottom and flipped a switch so that it buffers, which really helped with signal loss across my board.
I am currently playing with a Keeley Omni Reverb (from Sweetwater) which I like a lot. My next buy will be a Boing. The one knob draws me in like a cow pie to a summer fly.
Check this out, Mark.
I love real spring reverb at home (not pedal verb) but I can almost never use it live. It makes an already mushy sound stage even worse. But in the right environment, lay some on me!!