It's common to think of reverb as an effect that is added to a sound after it's been recorded, but in some cases, it's possible to create the same effect by delaying the sound. This can be done by using a delay plugin or by sending the sound to an external delay unit. By setting the delay time to be longer than the decay time of the reverb, you can create a similar effect.
There is no easy answer when it comes to the question of whether analog or digital audio is better. Both have their pros and cons, and ultimately it comes down to personal preference. Analog audio has a warm, natural sound that many people prefer. However, it is also more susceptible to noise and interference. Digital audio is more precise and can be more easily manipulated, but some people find it to be less natural sounding.
Reverb is an important tool for making your audio sound fuller, more natural, and more professional. It can make your recordings sound more like they were made in a studio, and can help to mask small imperfections in your performance. While it's not a magic bullet that will make you sound amazing overnight, it's definitely a valuable tool that can help you to sound your best.
Digital reverb is created using algorithms, which can create a more realistic and natural sounding reverb than analog reverb. Analog reverb units use physical springs or plates to create reverb, which can sound more artificial.
5/5
"Optional battery power operation lets you reduce cord clutter onstage and be extra mobile Adaptive Tone for perfect EQ, compression, de-essing, and gating Intelligent mic input gain for quick and painless setup On/off switch plus a talk mode for speaking with your audience Tap tempo control to keep your echoes right on the beat Dedicated reverb, echo and correction controls to fine-tune your sound Compatible with remote Mic Control using the TC HELICON MP-75 or Sennheiser* e83"
$234
This is a really top-notch unit. The tap tempo tool is quite helpful for the delay and it works well. I also like that it has an internal phantom power supply because I use a Lewitt live condenser microphone and that it operates on a 9V power supply so I can power it from my guitar pedal board. Only this and the Harmony Singer stand out to me as truly excellent pedals from TC Helicon. After purchasing a couple to test out and later selling them on the secondary market, I have passed on the remainder, including Duplicator and Critical Mass.
4.5/5
Stable and accurate time-base reference
44.1, 48, 88.2, 96, 176, 192kHz sample rates
Four high-current 5 volt BNC word-clock outputs
Two zero bit, digital black S/PDIF outputs on coaxial RCA connectors
LED indicators monitor termination and operating status of BNC outputs
$234
Finally, omg! I have been struggling for WEEKS to get my M-Audio Profire 2626 and two PreSonus Digimax D8s to sync. Evidently, the profire's wordclock voltage output is too low (I measured it at 1.7 v) compared to what the Digimax's call for (I read somewhere it is 2.5v). As I measure it, it produces 5.1 volts, and everything synced IMMEDIATELY. I have since recorded from all 3 interfaces with NO crackling, popping, or synchronisation problems. To me, this item is worth its weight in GOLD!
4.4/5
Delays and modulation effects
16 legendary Lexicon reverbs
dbx dynamics
$234
Okay, so you need a reverb/effects unit but don't necessarily want to spend the extra money on an SPX2000 or other comparable machines that cost around $1,000. Then stop your search. At this pricing point, the MX400's sheer adaptability is very astonishing. With a great selection of reverb, delay, phaser, detune, de-esser, and other choices at your disposal, you are practically getting 2 stereo processors. If you've used other outboard gear previously, the menu configuration is actually extremely simple, and if not, there is just a small learning curve. The A/B/C knobs, which impact the most common parameters of a given effect, are right there for you to change, and more thorough editing is two page/select button clicks away. It is possible to blend a variety of various effects together, perform 4 channel surround, or even use 4 mono effects with the in/out configuration and mix routing. As I use Protools and would prefer to set it up as a "analog" in/out for my reasons, I haven't looked at the unit's USB component. However, if you're using a VST compliant DAW, then it might be something that helps convince you of the unit's ease of use. It only supports 16 or 24 bit, 44.1 kHz or 48 kHz digital transmissions, thus if you typically "oversample" to 96 kHz or another frequency, this may be a reason to solely utilize it as an analog in/out device. It's not a major deal because most home studio users now use 24-bit 44.1k or 48k in their sessions. All things considered, this device is GREAT for creating space or subtle effects, but it is not anything that can drastically alter the original audio. User programs, however, are extremely simply stored and fetched back with only a few button presses. Factory programs are adequate but not extraordinary, like Pro Studio. For input monitoring, I do wish it had a few more LEDs, but at this price, it's not really something to moan about. Overall, the best device under $1,000 that fits a ton of applications in your rig and outperforms TC Electronic products in terms of sound quality! For a detailed look at the plethora of possibilities this device will give you, I highly suggest downloading the manual at http://www.lexiconpro.com/en-US/products/mx400/downloads and docs.
4.1/5
Pedal Switch Glow Sticker helps you locate the pedal in adverse stage lightingCustom-cut Hook and Loop Pedalboard Pad to attach and lock your pedals to your pedalboard
Constant High-Voltage operation for uncompromised signal qualityStomplock knob guard locks your tone in place and prevent tampering or accidental knob adjustments onstage
Tails On/Off Switch - When on, reverb tails are not cut off in bypassTrue Stereo I/OTrue Bypass circuitry preserves your tone in bypass
$234
This pedal contains all the modes I was hoping for, and thanks to the three main knobs, each mode is actually rather adaptable and has a variety of amazing sounds.The degree of reverb relative to your dry signal is controlled by the mix knob and ranges from hardly audible, subtle effects to 100% reverb. However, if you raise it up really high, it's fantastic for ambient, spacey music. Most players probably keep it set at around 12 o'clock.The duration of the reverb is influenced by the decay. From possibly more sustain than you actually need to really brief punch sustain, the transition is abrupt.The amount of treble that the effect processes is influenced by the liveliness control. As the name implies, this makes your sound more lively. This increases sustain and makes the effect fuller and more noticeable. As a result, how you set liveliness affects the other two controls. Because all the controls essentially function together and one change affects numerous aspects, it provides the controls more diversity than it initially looks to. The ability to fine-tune your sound is incredibly amazing.Not only are there ambient modes, but also plate and spring modes that aren't ambient, giving the pedal the versatility to be used in practically any style of music. The various modes all have pretty good sounds as well.You may use this option in nearly any genre of music, but I frequently use it for rock and metal. The plate mode is the traditional sounding reverb that you usually hear in most music.With the addition of a little chorus, the plate mod mode is essentially the same as the plate mode. Although I usually use my own chorus sound instead, it's still a great decent useful effect.The spring mode also refers to the well-known and adored spring reverb effect. Although they are both excellent, studio-quality reverbs, I tend to utilize this one slightly more than the plate mode.The surroundings, especially shine, are gorgeous. A cascading pitch shift that has been added to the effect creates a wonderfully eerie, frightening sound. Since I adore this effect, buying the pedal even with this option selected would be worthwhile. Your guitar gets a wonderfully haunting sound that isn't too over the top if you turn the mix down. And when the liveliness is turned up all the way, it produces some eerily lovely sounds.Turning the mix down gives your guitar a truly alien sound that isn't too over the top. Supernova conjures up a spacey, strangely isolating, tone that unearthly beauty similar to shine. And when the liveliness is turned up all the way, it creates some bizarre noises.I don't use the shimmer option very often since I feel like it kind of ruins the look, but it's still a good effect. The shimmer setting is just the shine setting with chorus added.A hall reverb effect with significant phasing added to it is called pherb. This sound truly appeals to me a lot. It falls in between the device's "normal" reverbs and the ambient settings. It has a wonderfully distinctive tone that works well for both ambient and more traditional music.Overall, this pedal lets you create some amazing and varied sounds. It's the only reverb I'll use for the foreseeable future and I'd use it for any genre of music.
3.7/5
24-Bit, 48kHz/44.1kHz sample rates
35 legendary Lexicon reverbs, delays, effects and dbx dynamics
Unique USB "hardware plug-in" Feature with VST and AU plug-in software
224 factory presets including 25 surround programs
4-Input/4-output XLR dual stereo/surround reverb and effects processor
$234
Okay, so you need a reverb/effects unit but don't necessarily want to spend the extra money on an SPX2000 or other comparable machines that cost around $1,000. Then stop your search. At this pricing point, the MX400's sheer adaptability is very astonishing. With a great selection of reverb, delay, phaser, detune, de-esser, and other choices at your disposal, you are practically getting 2 stereo processors. If you've used other outboard gear previously, the menu configuration is actually extremely simple, and if not, there is just a small learning curve. The A/B/C knobs, which impact the most common parameters of a given effect, are right there for you to change, and more thorough editing is two page/select button clicks away. It is possible to blend a variety of various effects together, perform 4 channel surround, or even use 4 mono effects with the in/out configuration and mix routing. As I use Protools and would prefer to set it up as a "analog" in/out for my reasons, I haven't looked at the unit's USB component. However, if you're using a VST compliant DAW, then it might be something that helps convince you of the unit's ease of use. It only supports 16 or 24 bit, 44.1 kHz or 48 kHz digital transmissions, thus if you typically "oversample" to 96 kHz or another frequency, this may be a reason to solely utilize it as an analog in/out device. It's not a major deal because most home studio users now use 24-bit 44.1k or 48k in their sessions. All things considered, this device is GREAT for creating space or subtle effects, but it is not anything that can drastically alter the original audio. User programs, however, are extremely simply stored and fetched back with only a few button presses. Factory programs are adequate but not extraordinary, like Pro Studio. For input monitoring, I do wish it had a few more LEDs, but at this price, it's not really something to moan about. Overall, the best device under $1,000 that fits a ton of applications in your rig and outperforms TC Electronic products in terms of sound quality! For a detailed look at the plethora of possibilities this device will give you, I highly suggest downloading the manual at http://www.lexiconpro.com/en-US/products/mx400/downloads and docs.
3.3/5
Analog wet/dry mix control
16 programs, with 16 variations each, for a total of 256 presets
Adjustable input and output gains
$234
This is a straightforward effects processor. Excellent for desktop use or solo acts. The cost is quite reasonable.Update on 6/1: Since I first added my review, this processor has been left on (plugged in) and is still functioning flawlessly. It took some getting used to, but now that the levels are set (send and return on the mixer, input, mix, and output on the processor), I have no problems with noise and am finding it to be very user-friendly.In addition, if you're forced to use a mixer without built-in effects, this is a useful add-on.
Reverb is not a delay effect. Reverb is an effect that simulates the natural reverberation of an acoustic space. Delay is an effect that creates a repeating echo.
There's no definitive answer to this question - it depends on what sound you're going for. If you want a more natural, 'ambient' sound, then putting reverb first will give your sound more 'space'. If you want a more polished, processed sound, then putting delay first will give your sound more definition. Ultimately, it's up to you to experiment and see what works best for the sound you're after.
There's no right answer to this question - it depends on what sound you're going for. If you want your mix to sound more natural, you might not want to add reverb to everything. But if you're going for a more atmospheric sound, reverb can help create that effect. Ultimately, it's up to you to decide how much reverb to use and on what tracks.
It's not uncommon to use both reverb and delay together in a mix. In fact, using them together can often help create a more natural and realistic sounding space. However, there are a few things to keep in mind when using both effects together. First, it's important to choose the right reverb and delay for the sound you're going for. If you're looking for a lush, spacious sound, then you'll want to use a longer reverb with a shorter delay. If you're going for a more subtle sound, then you can use a shorter reverb
There are three types of reverb: plate, spring, and digital. Plate reverb uses a metal plate to create reflections and is often used in recording studios. Spring reverb uses a metal spring to create reflections and is often used in guitar amps. Digital reverb uses a computer to create reflections and can be used in a variety of settings.
Digital reverb is an artificial reverb that is created using digital signal processing. It is commonly used in recording studios and live sound reinforcement systems. Digital reverb can emulate the sound of different types of spaces, such as small rooms, large halls, or cavernous Echoes. It can also create special effects, such as reverse reverb.
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