The best reverb, live, is from a company called Monitor Audio A good reverb reverb, often referred to as a “live reverb,” or “room resonant reverb,” has a certain “live feel,” Dr. Rhythm explains. It will allow your guitar to respond easily to volume changes, rather than take a regular pre-amp pattern, with what sounds “more perfect and complete,” as the Engineer explains. Live reverb is still preferable to precise recording techniques (such as delay). Recording your steps with a loop will work as a good approximation of the way a live mix will sound. We won’t use this advice in this guide because delays and reverbs sound different enough to not be instantly recognisable. All of the reverb pedals in this guide are fabricated, or fake, to the best reproduction of the original signal as possible. That means, they will add thickness to your guitar signal, but they won’t add warmth, depth, or amount of detail, whether that’s dry or as a result of dripping wet in a specific area of the room. So, we’ll be using the original guitar signal, without any digital processing. Monitor Audio offers three of the biggest names in the field: Acoustics, Q2, and Treble. We’ll discuss some of their features in a second, but first, a quick answer to the best reverb pedal question, as put by our modern Warm Whetstone: I’d go with Q2, though. Its ability to mix all major audio frequencies on-the-fly, purposefully render a room’s volume and reflection sounds, and isolate specific frequencies and phases, makes it a dream. It’s also the closest you can get to the original vibe yourself without spending big bucks.

Professional reverb, live, however, generally employs a medium static gain preamp pattern with mid and high-frequencies doubling up inside a dynamic tank gain preamp. A compressor is a hardware track compression device often used as part of a signal processing chain or in Live setup. A compressor adds gentle compression to audio that would otherwise be too quiet to hear, leaving it markedly improved in volume and quality. I have found that compression is often underrated as a guitar signal processor, but it has several prominent applications near a mixdown stage. Performance that sounds “hammy” due to a lack of compression is called “crinkly,” after the engineer who invented it. Necessity is the mother of invention. This piece is likely to be called the “swamp gas” section for a reason. I’ve manipulated electronics for my entire adult life, and I’ve never seen a smart lightbulb that went wrong. Somewhere between “blinking cold ganglia” and “help, I’m blind” are usually useful attempts at slowing things down with compelling frictional force applied by hand. These solutions aren’t quickly repealed and only really compound with multiple small breakage/corrosion issues to become apparent. The good news is a basic logic project like this one is generally repairable by anyone, so there won’t be many dead bulbs.

If used correctly, the buffer you choose allows the pass-band to restore volume to pre-echo level and eliminates feedback that increases volume by constricting the output signal. This allows the reverb to be quieter inside the original signal which gives natural and less brittle sound to the instrument without adding extra distortion. True Bypass pedals do a real double-duty, adding both a compressor and additional dynamic control before your audio reaches your ears, boosting rather than de-noising. The dash toggling on and off is actually adding dynamic control, both positive and negative, in reverse order. Performance that properly restores both low and mid-frequencies is called “Natural”. No feedback, good low-end punch, and a natural feel to every note. Out of the box, you can tell many reverb pedals based on their immediately apparent behavior. There are subtle visual differences in response from a Bhav Audio VC-40, a Marshall Studios GT-II and a Taylor 888E, multiple different feedback pattern characteristics, and even subtle “shimmer” or “grain” to the output. The key point here is that everyone’s ears are different and there are NO universal criteria for what sounds best.

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