Love my Flint.

Here are a couple of my little bass explorations with my Rickenbacker 4004L SPC.

This thing has some bold options that sound really good in the demos I've checked out. Not sure about availability though.

BlueSky is great too, my father just got one and the reverb just feels like a continuation of the string vibrations. None of that artificial and weird sounding top-end etc. You get with a Mooer Shimverb, for example.

I just got a Supernatural because I needed the best spring reverb I could find. I chose this over Strymon and EHX and everything else I could find. And the amazing plate and effect reverbs are just a bonus.

An option I have been seriously tempted with is the Logidy pedal that runs impulse responses ... logidy.com

This seems like a really good idea - would love to hear from somebody who has compared with good algorithm pedals ...

The Neunaber stuff sounds exceptional - I believe that will be my next reverb pedal purchase, but at the moment i'm really into spring reverbs.

So maybe a real spring will be my next purchase ...

Have you tried the spring in the Strymon Flint?

As much as I love the sounds from the Flint, the spring reverb setting is not all that great IMO+E. The other reverbs are fantastic.

i love the plate on the flint (70s?) i think its nicer then the plates on the big sky.. i have a big sky right now though..

My favorite spring pedal was the Catalinbread Topanga. Ultimately I slimmed down my pedalboard and went with more versatile pedals. Currently using the Digitech Polara, which is a great all-rounder.

Yes I have - my choice came down to the Flint or the Supernatural, and I chose the Supernatural.

I intend to buy a collection of some real spring tanks and experiment with ways of driving these.

You guys know spring pedals are being made?

Need (yeah right) to get one & kinda torn between getting a Earthquaker dispatch master or Catalinbread Talisman for plate-like.
Though Talisman does seem to be ahead of the pack in that territory.

Money (and wait time) no object I'd go for the Industrialelectric for bold factor.

I used to use one of these, a bit big for a pedalboard but it did have a handle on it!

The ones i've seen have ridiculously short springs that sound bad.

I been using the dispatch master by earthquaker a lot lately....

Dispatch Master is an awesome pedal, and would be my choice between those two. But, the reverb is pretty basic.

I was very skeptical of the RM-1N. But, since getting one, I've been blown away. It is well worth the money/wait/hunt.




Here's a few I like.


Uverbia

Endless Summer

Orion

I think I prefer the sound of the Endless Summer. And, it is likely the cheapest to purchase. But, unfortunately, it looks like it isn't being made anymore.

For me, personally...every reverb I've ever tried, beginning with the springs on a Peavey Musician back in 1974, thru Lexicon MX-200s, various Alesis, Yamaha, Mackie, Behringer, A&H and other consoles, all plugins, including Izotope, Cakewalk, T-Racks, Valhalla, up thru and including our Bricasti M7...suffer from one, consistent obstacle.

The "amount" knob(s) sweep is X percent "not enough", and 100-X percent " way too much", with the sweet spot occupying about one quarter of a percent range of the knob's travel.

One step deeper into this issue...the sweet spot varies slightly from song to song, depending on density and timbre of other signals, in relation to whatever spectra work for guitar on that song.

We just got a pair of Eventide H9s, one being a Max (making both Maxes, since the algos are licensed to 5 devices).

Though I have yet to escape the preset jungle, two things seem interesting.

One.. very few, if any...hate Eventide reverbs. Solid palatte to work with.

Two, any variable, or vollection of editable variables can be assigned to and expression pedal but that's not all.

Each variable, independantly, can have a portion of its total range assigned to the full range of the expression pedal, such that the tiny "sweet spot", between "too little" and "too much", can be spread out across the expression pedal's full range of travel.

That's theory.

I'll holla back when I have time to prove or disprove it.

I say your theory is busted.
I agree it's important to get the balance of wet and dry right, and that it varies from song to song or mix to mix. But that's where the digital units are fantastic - i've never had a problem dialing up the correct wet dry mix with any digital unit. That's the advantage of storing your own presets for easy recall.

Many of the digital units allow you to set the max and min settings for an expression pedal. Sometimes you need to vary both the dry level and the wet level at the same time ... if you wanted to morph from fully dry to full wet for example, you might need a panning pedal to achieve this - instead of panning from left to right you can use it to pan from fully wet to fully dry (on the send to your reverb if you still want stereo reverb).

I would choose a reverb for it's sound, and then work with whatever it takes to mix it. It might be best to use a reverb as 100% wet - but for small pedal boards I usualy just let the pedal do the mixing.

Still really liking Eventide Space and Eventide H9.


www.waltzmastering.com

Every time I almost get the dispatch master I hold off thinking I should wait till Sept for Andrew to get the RM-1N going out again. It's a ridiculously hard thing to do though for obvious sonic lust reasons. Hence kinda torn.

Get both. Job done.

I've been really loving the Digitech Polara. Here's my review:

Dr. Scientist makes a pedal called the Reverberator, and it is an incredible reverb pedal...lots of modes to it, but I use one sweet spot on there for everything and it tingles my loins. HIGHLY recommended!

I'm pretty lo-class with my gear but Electro Harmonix has a tiny little box with a plate setting for not too much money, and in theory it's exactly what I would want. If I ever see one in a store I'll find out whether it works in practice.

Really cool!

I picked one of these up on a Black Friday Amazon deal last year at a hefty discount but have barely used it yet... that will now change.

Interesting thread.

In general, I don't like most reverb pedals or reverb devices. There are 2 that I LOVE:

1) Earthquaker Dispatch - I love this because it is crisp, clean and surfy. I don't know how they did it, but the combination is perfect:


2) MicMix Reverb - Not pedals, but these sound great. One trick ponies, but a great trick...

He just made the last one. It is a very nice reverb. But, when I had one, I always found myself going back to my favorite patch, the rotating speaker!

My favorites are:

1) Earthquaker Devices Transmisser

2) Mr. Black Eterna

3) Mr. Black Supermoon

4) Matthews Effects Cosmonaut

5) Eventide Space

I made a mistake and was thinking of something else.

I'm currently interested in the Catalinbread Topanga (spring) and Talisman (plate) reverbs. Tested out the Topanga and it sounded very compelling. I would like to give the Talisman a shot. You can get a pedal that does a lot of different reverbs fairly well or something like these Catalinbreads that specialize in one type of reverb. I already have a Fender Twin with a nice spring reverb so I'm leaning towards the Talisman plate for my Boogie.

Revisiting this topic 3 years later, in your view is there now such a thing as an ideal pedal that covers all matters reverb, at least in regards to these criteria:

1. the early Lexicon (224 etc ) sound in algorithms such as Concert Hall, Rich Plate, Rich Chamber

2. thick "processed" sounding reverb of H3000

3. rather real renditions of existing spaces (hall, room, plate).

4. ambient soundscape reverb tails

If you find there is not a single pedal, which combo would get you there ?