Reverb-G Paired Springs Reverb

REVERB-G was inspired by the reverberation section of the legendary hardware synthesizer Synthi™ (VCS-3, A, AKS). The reverberation tank was an important contributor to the Synthi sound and has now been modeled in REVERB-G.

The original reverberation section of the synthesizer comprises a pair of lightly tensioned springs with transducers at either end to transform the electrical signal into a mechanical vibration and back again to a signal. The basic function of reverberation is to simulate the effect of a room or hall, in which sounds take a few seconds to die away, but it can also be used for blending and distancing sounds.

The history of the EMS™ company started in 1969 and ended in 1979. Synthi™ (VCS-3) is one of the most iconic synthesizers of all time. You can hear sounds from this synthesizer and its Reverberation unit in the works of Pink Floyd, The Who, Yes, Curved Air, Family, King Crimson, Led Zeppelin, Roxy Music, Moody Blues, Three Dog Night, Sly and the Family Stone, and others.

REVERB-G models a mechanical vibration paired springs reverb audio processor inspired by the reverberation section of the EMS Synthi.
REVERB-G includes ORIGINAL mode with MIX and LEVEL control only, but also includes additional flexible MODERN mode, where we have added reverb parameters such as Pre Delay, individual Decay control (reverb tail length), Space and Mono/Stereo width control, HiCut and LowCut filters, and Damping filter (in progressive loss high frequencies).

REVERB-G derives its name from the original scheme of the Synthi architecture, where the Reverb unit is marked as unit section “G”.
The REVERB-G audio processor reproduces the character of the original reverb unit with its own musical sound used by many musicians, and allows us to touch the sound of the 70s.

Try out the legendary instrument-inspired mechanical vibration paired springs reverb today.

* All product names, artist and band names, trademarks, and registered trademarks are the property of their respective owners. All company, product, and service names used are for identification purposes only and are not intended to infringe on the copyrights of their respective owners. The use of these names, trademarks, brands, and artist names does not imply any affiliation or cooperation with or endorsement by them with Turn2on. These product names and descriptions are provided solely for the purpose of identifying the tonal characteristics of specific products that were studied during the sound modeling process and for describing certain types of tones produced with current algorithms.

REVERB MODE:

ORIGINAL MODE: The original hardware synthesizer reverberation section includes only MIX and LEVEL controls on the panel. In this mode, the MIX knob sets the value of the Dry/Wet and Decay parameters at the same time
MODERN MODE: This mode includes additional parameters with flexible control of the reverberation. The MIX knob sets the value of the Dry/Wet balance, and Decay works as an individual parameter

PRE DELAY: This parameter sets the initial delay before reverberation

DECAY: This parameter sets the length of the reverberation tail (0.1 to 2.25 seconds). It is only available in MODERN MODE

SPACE: This parameter scales the size of the reverberation

MS: This parameter controls Mono/Stereo and adjusts the stereo width of the wet signal

HICUT: This parameter sets the value of the LowPass filter cutoff frequency, reducing the high frequency of the processed signal

LOWCUT:This parameter sets the value of the HighPass filter cutoff frequency, reducing the low frequency of the processed signal

DAMP: This parameter controls the progressive loss of high frequencies in the reverberation tail

MIX:

This parameter controls the mix between the dry (unprocessed) signal and the wet (processed by the reverberation effect) signal.
The original reverberation unit has a spring delay line with delay times of 25 and 30ms. This is used in the architecture of REVERB-G.
- In ORIGINAL MODE: As the MIX control is turned clockwise from zero, the sound becomes more sustained, as in a large bare room. At maximum, the reverberation time is greater than 2 seconds, equivalent to a small concert hall, but the sound is noticeably degraded. Small amounts of reverberation add extra “richness” to avoid the dry quality of electronic sound. The MIX parameter is the proportion of direct to reverberated output. At zero, there is no reverberation (the real hardware has about 0.3 seconds, and this is realized in Reverb-G), and at 10, most of the signal is heard through the springs.
- In MODERN MODE: The MIX parameter controls the balance between the dry and wet (processed) signal. In this mode, Decay is an additional individual parameter.

LEVEL: This parameter sets the output level of the REVERB-G device

DRY: This parameter sets the gain level of the incoming unprocessed signal

WET: This parameter sets the gain level of the processed signal by the reverberation effect

SOFT BYP: This parameter is a variation of effect bypass with fade in and fade out that excludes loud peaks when you enable or disable the effect