A common cause of muddiness in reverb is the pre-delay and decay times. You can choose whether you would like to adjust the pre-delay and decay times manually or have the plug-in sync the pre-delay and decay to the tempo set within your DAW. Since their creation falls into the algorithmic reverb camp, it offers otherworldly atmospheres that natural spaces aren’t able to create.Īnd along with that, you will have a satisfying amount of control over how your reverb is shaped. Thankfully, today’s computers are far more powerful than they once were and offer a well of potential for all to tap into.īaby Audio has certainly tapped into that potential with the Crystalline plug-in. Of the two schools of software reverb, algorithmic and convolution, algorithmic reverb has been plagued by one drawback since its inception in the 1960s: processing power. It offers beautiful atmospheres contained within an intuitive and easy-on-the-eyes interface. It’s designed for would-be celestial travelers seeking tones wider than the skies above-and on those terms, it’s a cosmic knockout.Baby Audio’s latest reverb plug-in, Crystalline, has received rave reviews, and there’s little wonder why. With its even, somewhat static response, the SuperMoon won’t replace for your favorite spring reverb and all its subtle nuances-but to be fair, that’s not the pedal’s goal. It’s great for hall- and cathedral-type reverb, and it’s endlessly fun. If you’ve longed for a simple, compact reverb that excels at nearly limitless ambience, it’s worth considering the Mr. Sadly, the pitch-shift rate is fixed, so you can’t get fast, alien ray-gun spurts and other weird astral effects. Reverb can be eerie to begin with, but the SuperMoon’s creepiness was off the charts. My Strat’s neck pickup provided perfect clarity and presence for the reverb’s crawling modulation. The real fun began when I turned up the sway knob to add pitch shifting. Patching in an Ernie Ball volume pedal and maxing the reverb and decay knobs, I generate dazzling ambience that bloomed and faded with each swell of the treadle. Turning down the decay and pushing the reverb mix yielded a cool, futuristic-bathtub quality, with the effect bursting loudly and quickly dying off. Playing the sparse, clean-toned intro to the Cure’s “If Only Tonight I Could Sleep,” I immediately noticed the reverb’s granular quality and super-smooth decay. I set the pedal’s reverb and decay knobs halfway up and turned off the sway control to evaluate the pure reverb sound. I auditioned the SuperMoon using a Fender Classic Player Strat and a Mesa/Boogie Dual Rectifier, with the pedal connected via the amp’s effect loop. But its precise control, distinctive texture, and mammoth-sized spread make it a stellar tool for ambient passages, endlessly reverberating chords, and swaying, pitch-shifted echoes. You won’t mistake the SuperMoon’s spacious sounds for a dynamic-sounding spring reverb-its lo-fi voicing is more akin to that of a dusty record than a warm, bubbly vintage spring. Exciting pitch-shifting tones.įixed modulation rate. (Since it’s a power-hungry digital effect, you'll probably want to go the latter route.) It’s hand-built in Portland, Oregon.Įasy to dial in sounds. It can be powered by either a 9V battery or a Boss-style power supply. The SuperMoon features true-bypass switching. The reverb's maximum setting of 300 milliseconds is ideal for cavernous-sounding passages, while a heaping 30 seconds of decay time lets you create Fripp-like soundscapes and howling volume swells. A third knob, labeled “sway,” applies wobbling pitch modulation to the effect. (Maximum wetness is 1:1.) Another regulates decay time. A pitch-shift control lends this atmospheric effect an eccentric twist.ĭialing in cosmic reverb tones is simple, thanks to the SuperMoon’s three straightforward controls. The pedal’s digital circuit is designed for vast-sounding, lo-fi reverberation with precise control over decay rates. His new SuperMoon, an ambient modulated reverb from a subdivision of Jack Deville Electronics called Mr. Most recordings have some form of natural or artificial reverb to fill out space or add texture, and that’s because reverb can affect a song’s mood almost as much as the notes themselves.Įffect lovers such as pedal builder Jack Deville understand this. Reverb’s impact on popular music may outshine that of any other effect.
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