What Is Reverb?
Reverb or reverberation is the “overhang” of reflected sound after it has bounced off many surfaces. We have all experienced how singing in the bathroom makes your voice sound bigger and this is because of the multiple reflections from generally hard surfaces. There is less reflection in a softly furnished room.
To understand reverb a bit better, imagine clapping your hands in a large empty room, or your bathroom. The sound you hear trailing off is reverb. The size, shape, and thing in the room will change the type of the reverb.
For instance, in a small carpeted room with curtains, the fabrics absorb many of the sound waves, resulting in little to no perceivable reverb. In contrast, clapping your hands in a large church will produce an immersive and dramatic reverb with a long decay, sometimes lasting several seconds. This is because the hard surfaces within the church reflect the sound waves multiple times, creating a rich and lingering auditory experience.
Key Points about Reverb
- Room Size and Shape: Larger spaces typically produce more noticeable reverb.
- Material Absorption: Soft materials like carpets and curtains absorb sound waves, and so reduce reverb levels.
- Surface Reflection: Hard surfaces like bare walls and ceilings reflect sound waves, enhancing reverb. This is why people sing in the bath, because the “reverby” bathroom make their voice sound big!
This is how reverb shapes the acoustics of different rooms, halls and caverns, adding depth and dimension to what we hear.
How Does It Differ From Delay?
Reverb is the sound that remains in an enclosed space after the original sound has stopped. It is the result of sound waves reflecting off of surfaces within the room and creating multiple, overlapping echoes that blend together to create a sense of space. Reverb can be thought of as a continuous, diffuse sound that fills a space, rather than a distinct, repeating echo.
Delay, on the other hand, is a time-based effect that involves repeating the original sound at a set interval after it has been played. The repeated sound, or echo, is usually heard as a distinct, discrete sound, rather than blending with other reflections like in reverb.
The time interval between the original sound and its echo can be adjusted to create different rhythmic or spatial effects, such as a slap back echo, which is a quick, single repetition that creates a sense of space without blurring the original sound.
Reverb and delay are both important effects in live and recorded music to create space and depth.
Creating Reverb For Music Production
In early recordings, reverb “effects” were created by choosing a particular room and/or treating that room to either increase or damp its reflections.
This occurred both up to and after the event of electronic signal processing.
Even after electronic reverb was available, there are some great examples of large rooms being used to great effect. John Bonham’s drum sound on Led Zeppelin IV (released in 1971) was recorded in the great hall at Headley Grange. Samples of the drum sound on When The Levee Breaks are still being used today.
A Bit Of History
Before the advent of digital technology reverb was created using two main methods, one predominantly within guitar amps and the other a studio effect.
These are the only true analogue reverb types, and you will see later in this article that modern day digital / DSP based reverbs often try to emulate their sound.
Spring Reverb
Spring reverbs were originally designed in the 1930 by Laurens Hammond (of Hammond organ fame). Here’s how they work.
An amplified signal is sent to a set of one or more metal springs that are suspended inside a unit. The springs are typically made of coiled steel and are arranged in parallel.
As the amplified audio signal passes through the springs, it causes them to vibrate, which in turn creates a complex series of echoes and reflections. These echoes and reflections create a natural-sounding reverberation effect that can be adjusted using various controls on the spring reverb unit.
Spring reverbs were included as an integral part of guitar amplifiers from the 50s onwards. This was particularly championed by Fender.
There have also been discrete studio-based spring reverbs such as the Great British Spring which is an approximately 1 metre long reverb spring that is essentially mounted in a drain pipe!
Whilst predominantly the studio effect, some guitarists have been known to use these in live environments, such as Mark Knopfler.
Plate Reverb
In 1957 a German company called Elektromesstecknik (EMT) were the first to produce the plate reverb. This is primarily a studio-based reverb- at least we do not know of anybody using this on the road.
The principle of operation is the same as the spring reverb where a signal is passed through in mechanical object that simulates sound reflections. However, in this case the objects is not a spring but a metal sheet. This sheet was often quite large (approx. 2m x 1m) and suspended in a frame. The type of metal used for the sheet would affect the quality of the reverb.
Plate reverbs were generally considered more sophisticated, could cope with transients better, and generally less “splashy” than the spring.
EMT remained one of the more famous producers of real plate reverbs comma the EMT 140 being used in Abbey Road. There are more than a few studios that still use vintage EMT one 40s for their reverb, although for most either a plug-in or digital pedal is more practical.
There is still a considerable amount of interest in real plates as will be seen by the number of DIY articles on the Internet, for those that are brave and have strong backs!
Natural Room Reverb
Whilst weve said that there are two main type of (artificial) reverb, we shouldn’t overlook some of the great recordings of the 60’s and 70s where the ambient nature of a real room produces amazing sounds. Think John bonhams drum sound at Headley Grange. Samples are still being used today!
Analogue or Digital – What’s The Difference?
As we’ve seen above, the only true analogue reverbs are the spring and the plate.
With a few exceptions, all reverb pedals are digital these days. However, the programme or algorithm inside the digital pedal can be made to sound remarkably like some of these earlier reverbs.
So, when you hear the phrase ” analogue voiced”, what this means is the digital programme creating the reverb sound is tweaked to sound like a spring, a plate, or whatever.
Also, you may hear the phrase analogue dry signal. All this means is that the non-affected guitar signal does not go through any digital processing route. The processed signal is then recombined with the dry guitar signal at the back end of the circuit.
There are also chips that are specifically designed to be used for the purposes of reverb. There is a chip called the Belton Brick PT2399 that was designed by Brian Neunaber (yes the one that makes the pedals!).
This chip comprises three digital delays and some filter circuitry to replicate the sound of the spring reverb. PT2399’s can be found in a number of modern pedals such as the Caroline Meteore and the Fuzzrocious Afterlife.
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Reverb Types
As you can imagine there are now a myriad of pedals that are able to simulate both the classic reverb sounds, together with that of being in cavernous environments.
You will often see reverbs described as spring or plate, see above, hall and cathedral, which are the more massive sounds, and shimmer. All of these sounds are fairly self-explanatory. There are a few which are quite so easy to figure out – as follws:
Gated Reverb
Then there is the gated reverb. As the name implies, this combines reverb and a noise gate that cuts off the reverb effect after a predetermined time.
The best example of this, whilst not a guitar sound, is Phil Collins’ drum sounds of the early 1980s (think In The Air Tonight) where the explosive snare drum sound was created using masses of reverb which is then cut off after a few milliseconds.
This is what gives the massive “gunshot” snare sound. You’ll see from our table below that there are a few guitar reverb effects that include this effect.
Shimmer Reverb
Shimmer reverb is a type of reverb effect popular for its ethereal sound quality. Here’s what makes it unique:
Octave-Up Feedback: Reverb trails are an octave higher than the original note. This added layer creates a sparkling, shimmering effect.
Enchanting Soundscapes: The result is a lush and ambiant. It can transform simple chords into a mesmeric, otherworldly experience.
Inspiration for Creativity: Artists often use shimmer reverb to add depth and a magical quality to the uitar sound, enhancing both live performances and studio recordings.
Whether used subtly or more “front and centre”, shimmer reverb raises the emotional impact and atmospheric presence of your sound.
Chamber Reverb
Chamber reverb replicates the sound characteristics of a small to medium-sized room, creating a controlled and natural ambience. This effect is achieved by capturing the way sound waves reflect off the walls, floor, and ceiling of an acoustic space, providing a sense of environment without overwhelming the mix.
Key Features of Chamber Reverb:
- Natural Sound: Mimics the acoustic properties of real rooms, creating a believable sense of space.
- Controlled Reflection: Ensures clarity and retains the punchiness of the original sound, avoiding muddiness.
- Versatility: Ideal for various instruments, from vocals to guitars, enhancing their presence in genres like rock and pop.
Uses in Music Production:
- Enhancing Vocals: Adds depth and warmth to vocal tracks
- Instrument Separation: Allows instruments to sit well in the mix without clashing.
Where Should Reverb Go In The Signal Chain?
The placement in the signal chain can have a significant impact on the overall sound of the mix.
As with all music, whilst there are no hard and fast rules, in general, reverb is most often placed at the end of the signal chain.
This is because reverb is a complex effect, with its multiple reflections, and can make your sound really messy if this is then further affected by pedals.
How Do I Decide Which Pedal Is For Me?
This is the $50,000 question and of course it is horses for courses depending upon your personal needs and sound aspirations. Do you go for a retro-style pedal or something more complex, with multiple algorithms?
There is generally a trade-off between flexibility (and price) and simplicity.
Some pedals have stereo output. This can be important if you are running a stereo rig, or if you wish to split the signal into stereo before the mix.
For ultimate control, MIDI can be excellent. Use MIDI to switch between algorithms and settings. This switching can be achieved using a more manual or via a controller/sequencer.
Also, consider what type of bypass is important to you. Whilst there always is a natural inclination to go towards true bypass, it might be that a buffered bypass is more appropriate, for example, if you have a complex or long signal path. This is a subject which is quite difficult in itself, that we will tackle in future articles.
To help you compare we have put together a table of pedals including their type and features below.
Finding the Best Reverb Pedal for Your Needs
Reverb pedals are a staple in any guitarist’s arsenal, adding depth and space. There are so many great pedals available, so how do you find the pne that’s right for you?
Recreating natural reverb electronically evolved over decades. Initially, “Golden Era” 50’s and 60’s amps, typically Fender style, incorporated spring tanks. Fast forward to the ‘70s and ‘80s, and these effects were produced using sophisticated digital rack units.
Now, there a small digital and analogue stye pedals that can sound like vintage and more modern units
Choosing the Right Reverb Pedal
When selecting a reverb pedal, there are several factors to consider:
- Types of Reverb:
- Spring Reverb: Emulates the classic sound of vintage amps.
- Plate Reverb: Often used in studios for its smooth, dense sound.
- Hall and Room Reverb: Simulates the acoustics of large and small spaces, respectively.
- Shimmer Reverb: Offers ethereal, ambient sounds with added higher frequency overtones.
- Budget:
- High-End Pedals: These usually come with a variety of tweakable settings and multiple types of reverb, giving you the flexibility to craft a unique sound.
- Budget-Friendly Options: Typically more straightforward, offering fewer types of reverb but still delivering great sound quality. These are excellent for beginners or those looking to add a simple touch of reverb.
- Controls and Features:
- Pre-Delay, Decay, and Mix: Essential controls for tailoring the reverb effect to your precise needs.
- Modulation and Tone Controls: Additional features that can shape the reverb effect in unique ways.
- True Bypass vs. Buffered Bypass: True Bypass pedals keep your signal path clean when the pedal is off, while Buffered Bypass preserves your signal strength over long cable runs.
Top Picks for Reverb Pedals
Though personal preference plays a significant role in determining the best pedal for you, some well-regarded options include:
Meris Mercury 7 : Known for its wide array of lush, studio-quality reverbs.
Death By Audio Rooms: A versatile option that offers various reverb types in one compact unit.
Ac Noises Ama: A simple sweet sounding reverb, that also combies a dramatic bit crusher.
Ultimately, the best reverb pedal for you will depend on your specific needs and playing style. Take the time to explore different types and features, and don’t hesitate to test out a few pedals to find the right match. Whether you’re aiming for a subtle room ambiance or an expansive hall reverb, the perfect pedal is out there waiting to enhance your sound.
Comparison Of Reverb Pedals:
Cursor right to see all columns in table:
Reverb | Type | Complexity | Controls | Stereo | MIDI | Bypass | Other | |
 | Spring | Low - Medium | Osc, Mix, Reverb, Ramp, Crush, Resolution, Sample Rate | No | No | True Bypass | Lo-fi Bitcrusher | |
 | Reverb & LFO Tremolo | Low - Medium | Depth, Rate, Symmetry, Tone, Mix, Decay | No | No | True Bypass | LFO Tremolo | |
 | Plate, Mod, Hall, Pitch, Spring, Lofi, Analogue, Dynamic, Echoverb | Medium | Knob Display, Preset Display | Yes | Yes | Buffered Bypass | Menu Driven | |
 | Spring | Low | Level, Regen, Attack , Size | No | No | True Bypass | Lo-fi | |
 | Room & Shimmer | Low | Room Size, High Cut, Mix, Shimmer | No | No | True Bypass | ||
 | Plate | Low | High Pass, Time, Pre-delay, Mix, Volume | No | No | Switchable True / Buffered | ||
 | Spring | Low | Dwell, Tone, Mix, Volume | No | No | True Bypass | Fender 6G15 Based | |
 | Spring & Cavern | Low | Volume, Altitude, Reverb | No | No | True Bypass | ||
 | Room, Digit, Peak , Gate, Wave, Gong | Medium - High | Freq, Depth, Time, Dry, FX, Select | Yes | No | True Bypass | Gated Reverb | |
 | Reverb & Delay | Medium | Length, Diffuse, Dampen, Reflect, Drag, Mix | No | No | Buffered Bypass | Octaves & Fifths | |
 | Octave Reverb | Medium - High | Preset, Length, Mode, Depth, Rate, Tone, Mix | No | No | True Bypass | 8 Reverb Modes | |
 | Reverb & Delay | Medium | Time, Repeats, Tone, Mix, Decay, Mix | Yes | No | Switchable True / Buffered | ||
 | Reverb & Delay | Low | Mix, Time, Reverb, Repeats | No | No | True Bypass | ||
 | Spring Reverb | Low | Attack, Depth, Dwell | No | No | True Bypass | ||
 | Spring Reverb & Delay | Low | Mix, Repeats | No | No | True Bypass | ||
 | Arpegiating Reverb | Low | Reverb, Pitch Shift, Delay | No | No | True Bypass | ||
 | Spring, Plate, Room & Tremolo | Medium | Rate, Color, Dwell, Depth, Mixer | Yes | No | True Bypass | ||
 | Spring, Plate & Tremolo | Low - Medium | Rate, Reverb, Depth, Level | No | No | True Bypass | ||
 | Reverb & Delay | Medium | Time, Delay, Reverb, Decay, Repeats, Sens, Damp | No | No | True Bypass | 3 Delay & Reverb Modes | |
 | Spring | Low | Mix, Numb, Dwell | No | No | True Bypass | ||
 | Multiple | Medium - High | Space Decay, Modulate, Mix, Lo Frequency, Pitch Vector, High Frequency | Yes | Yes | Switchable True / Buffered | 2 Separate Reverb Algorithms | |
 | Spring | Low | Mix, Dwell, Tone | No | No | True Bypass | Fender Like | |
 | Theatre | Low | Echo, Space, Mix | No | No | True Bypass | ||
 | W3T, Plate, Hall, Spring, Sustain, Echo, Detune, Shimmer | Medium | Mix, Effect, Reveb Depth, Tone | Yes | No | Buffered Bypass | 8 Modes | |
 | W3T | Low | Tone, Mix, Depth | No | No | Buffered Bypass | W3T Algorithm As Immerse | |
 | Ambient Pad Reverb | Low - Medium | Control 1 & 2, Mix, Reverb | No | No | True Bypass | Pitch, Delay & Crush Modes | |
 | Reverb, Delay & Reverse | Medium | Blend, Delay, Time, Feedback, Reverb , Modulation, Delay | No | No | True Bypass | ||
 | Ambient Pad Reverb | Low - Medium | Rate, Depth, Mix, Decay | No | No | True Bypass | ||
 | Room, Hall, Cathedral, Gated, Plate, Spring, Grain & Delay | Medium | Blend Bal, Pre-delay, Decay, Select, Mod Rate | No | No | True Bypass | Gated Reverb | |
 | Modulated Reverb, Tremolo & Vibrato | Low - Medium | Speed, Decay, Level, Depth, Color | No | No | True Bypass | ||
 | Spring | Low | Tone, Decay, Depth, Level | No | No | True Bypass | Fender Style |
Guitarists Who Use Reverb As A Signature Effect
There are few guitarists, either professional or amateur, that do not use reverb in some shape or form.
Below are a few examples of inspirational guitarists that have not just used reverb but made it part of a very identifiable sound and style:
- David Gilmour (Pink Floyd) – Gilmour’s guitar sound is characterized by its rich, spacious tone, which is often achieved through the use of reverb and other effects.
- Johnny Marr (The Smiths) – Marr is known for his use of jangly, shimmering guitar tones, which are often achieved through the use of reverb and chorus effects.
- Dick Dale – Dale is known as the “King of Surf Guitar” and his distinctive sound is characterized by the use of heavy reverb, which creates a sense of space and depth.
- Mark Knopfler (Dire Straits) – Knopfler has also used both modern and vintage (Great British Spring) reverbs to create unique guitar textures particularly in the latter part of Dire Straits’ career on songs like “Telegraph Road” and “Private Investigations”.
- Chris Isaak – One of the most notable examples of Isaak’s use of reverb can be heard on his hit song “Wicked Game”. The guitar tone has a rich, full-bodied reverb that gives the song a dreamy, ethereal quality, which sounds influenced by…
- Hank Marvin – Marvin’s guitar tone is characterized by its clean, bright sound and its use of reverb to create a sense of space and depth. Listen to “Apache” and “Wonderful Land”.
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