UAFX Orion Echo (tape). and Heavenly Reverb (plate) incoming.

Whizzinby said:
I forgot entirely about the Del Verb and had to go back and watch LT’s demo of it. You don’t hear much about that pedal anymore, but it seems like a cool package.
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There's absolutely not enough great delay/reverb in one box pedals out there, but the Del-Verbs reverb side is too simplistic. I'd want at least a couple more controls for brightness and decay, and they could have easily put them as secondary controls on it.

Plus it has all the usual UA inconveniences.

The Source Audio Collider is still the one to beat and compared to the Del-Verb, it's like one switch more to operate it in a similar manner. Basically keep it on the delay side then if you want to adjust reverb you flick the switch and turn the mix knob.

I do wish the Collider tape delay was better though. I like the Benson Echorec on the SA Nemesis much more, but even that is not as good as the Volante. So I just have both on the board and use the Collider mostly for reverb but also for other delay types.

I'm looking to pick up a Strymon El Capistan V2 from Japan if I find one for the right price. Will have to see how that fares against the Volante for what I want.
 
laxu said:
There's absolutely not enough great delay/reverb in one box pedals out there, but the Del-Verbs reverb side is too simplistic. I'd want at least a couple more controls for brightness and decay, and they could have easily put them as secondary controls on it.

Plus it has all the usual UA inconveniences.

The Source Audio Collider is still the one to beat and compared to the Del-Verb, it's like one switch more to operate it in a similar manner. Basically keep it on the delay side then if you want to adjust reverb you flick the switch and turn the mix knob.

I do wish the Collider tape delay was better though. I like the Benson Echorec on the SA Nemesis much more, but even that is not as good as the Volante. So I just have both on the board and use the Collider mostly for reverb but also for other delay types.

I'm looking to pick up a Strymon El Capistan V2 from Japan if I find one for the right price. Will have to see how that fares against the Volante for what I want.
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Yeah the lack of reverb controls is kind of a bummer. The Dispatch Master is a legendary 2n1 with just a single reverb control, but granted it’s single algorithms and half the price.

I would be curious of what you think of the El Cap v2 vs Volante. I’m honestly considering shooting them out myself. When is your trip to Japan? :ROFLMAO:
 
Whizzinby said:
Yeah the lack of reverb controls is kind of a bummer. The Dispatch Master is a legendary 2n1 with just a single reverb control, but granted it’s single algorithms and half the price.

I would be curious of what you think of the El Cap v2 vs Volante. I’m honestly considering shooting them out myself. When is your trip to Japan? :ROFLMAO:
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I'm going next month. If I find one for the right price, I won't get to put it through its paces until September.

I'm hoping it would be "smaller Volante where I'm not unhappy with the compromises". If not, I can easily sell it.

Btw, you can use the Volante as a reverb pedal if you just turn off all the playback heads. It's not the best spring reverb but it's usable for sure.
 
laxu said:
The hard work is developing the platform itself, then it's just figuring out the algorithms. The platform is done bar some bug fixes that have come out in the past few months.

Strymon has made plenty of delays and reverbs so it's not like they're treading into unknown waters here.
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Maybe. I’m guessing the revamped algos take a bit more than just figuring out.
 
Finally got around to the Neunabor Illumine and UAFX Evermore.

Evermore first… I think it’s a steal at $126. Sounds great especially if you need room, sm hall and lg hall lexicon tones. The 3 band decay is sweet for fine tuning your size and space type. Wish pre-delay was continuously variable but I set it and forgot it. Guitar tone is totally intact.

Neunabor Illumine… Jesus this thing sound fantastic. Completely shocked me. I’m gonna do a session where I A/B it against the Strymon MX just to be sure but if I had to choose one right now, well. So I am trying to be extra careful because both are excellent. YMMV and all the usual disclaimers. What a great time for reverb…

👍🏻😎👍🏻
 
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Round 3 for those following my reverb showdown.

Gonna go all Neunabor and use both Illumine or Immerse MKII depending on the application. Sending back both UAFX pedals to finance the Immerse MKII. After diving into the Illumine and the W3T and plate algos, along with W3T + Echo and Sustain modes it’s just a no brainer for my needs.

For those wondering, I’ve tried a ton of other reverbs. Strymon flint, blue sky, big sky Mx. Boss 500 and 200. Caitlinbread plate… others I’m sure I’m forgetting.

These just work for my taste. Downloaded the extra 50 pro studio presets for the Illumine for $20. Looking forward to demoing those.
 
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KingsXJJ said:
Round 3 for those following my reverb showdown.

Gonna go all Neunabor and use both Illumine or Immerse MKII depending on the application. Sending back both UAFX pedals to finance the Immerse MKII. After diving into the Illumine and the W3T and plate algos, along with W3T + Echo and Sustain modes it’s just a no brainer for my needs.

For those wondering, I’ve tried a ton of other reverbs. Strymon flint, blue sky, big sky Mx. Boss 500 and 200. Caitlinbread plate… others I’m sure I’m forgetting.

These just work for my taste. Downloaded the extra 50 pro studio presets for the Illumine for $20. Looking forward to demoing those.
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It's great to find something that you really like!

I own a Flint V2 and it's great, but I do think the SA Collider is a better sounding reverb pedal, just nowhere near as straightforward as sometimes you want a couple of options instead of the whole basket.

I recently sold my Strymon Nightsky after owning it for several years. It is another awesome, unique reverb because it lets you play reverb designer by throwing in modulation, pitch shifting, and more on top of already pretty great reverb sounds. But that can also be way too much at times and it's a large pedal like the Volante. Sometimes you just want something that does the thing you want with minimal fuss.

I haven't tried the Neunaber pedals, I know I wouldn't be happy working with the Illumine's user interface and the Immerse lacks MIDI/presets.
 
laxu said:
It's great to find something that you really like!

I haven't tried the Neunaber pedals, I know I wouldn't be happy working with the Illumine's user interface and the Immerse lacks MIDI/presets.
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Yes, it is great.

The Fllnt V1 was too limited for me and rather subdued unless cranked which wasn’t for me. Had hopes for V2 with added predelay but was hoping for variable.

Tried Collider twice. Neat idea but seemed like trying to do both delay and reverb led to me not particularly bonding with either.

As an aside I tried the Boss DD-500 which had a choice of some sweet algos that sounded right up my alley… but it just didn’t hit the sweet spot for the actual sound.

I don’t plan to spend a lot of setup time past the initial staging and tweaking of my wheelhouse reverb presets. They’ll be for home studio use which takes a lot of variables out. The Immerse MKII will be something I throw in an amp loop and in my previous experience with it, once you nail down the knobs and alternate functions it’s easy to tweak on the fly but presets like the Neuron Gain Intelligence pedal would have been nice for sure. MIDI is not a concern for me as I typically limit that to my Fractal units. I will say that whoever wrote the algos on both units was someone with tastes like mine. W3T is pretty incredible and unique IMO.
 
KingsXJJ said:
Yes, it is great.

The Fllnt V1 was too limited for me and rather subdued unless cranked which wasn’t for me. Had hopes for V2 with added predelay but was hoping for variable.
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Flint V2 predelay is adjustable tho?
KingsXJJ said:
Tried Collider twice. Neat idea but seemed like trying to do both delay and reverb led to me not particularly bonding with either.
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The delay side is definitely weaker than the reverb side. Reverb is basically best of Ventris minus tweakability.
 
laxu said:
Flint V2 predelay is adjustable tho?

The delay side is definitely weaker than the reverb side. Reverb is basically best of Ventris minus tweakability.
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Thought V2 was just short or long pre-delay only… if wrong, my bad!
 
laxu said:
The manual is not very clear about it but the MIDI value is 0-127.
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A clue is that “time” is not plural in the second sentence. I’m sure Strymon Support can get an answer. It was a deal killer for me.

IMG_0377.png
 
I really thought the Golden Reverb I had was great on all settings. I’d buy another one, perhaps. But the Starlite was terrible. I couldn’t get rid of it fast enough.
 
KingsXJJ said:
A clue is that “time” is not plural in the second sentence. I’m sure Strymon Support can get an answer. It was a deal killer for me.

View attachment 25429
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I still say the manual is just unclear. Strymon is usually very clear about their MIDI options where they use e.g value 0-2 if they are just preset values, and 0-127 when it's a continuous adjustment.

Unfortunately my Flint V2 is not at home so I can't test this out, and when I've used the feature I just set a short pre-delay.
 
laxu said:
I still say the manual is just unclear. Strymon is usually very clear about their MIDI options where they use e.g value 0-2 if they are just preset values, and 0-127 when it's a continuous adjustment.
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Strymon’s answer? It’s adjustable but limited or managed according to mode:

Victoria Godfrey (Strymon)
Jul 23, 2024, 13:58 AKDT

Hello Jason,

Thanks for supporting Strymon!

You can incrementally change the pre-delay time in between the minimum and maximum values. It isn't a huge range, but you can move between them. The following is the information from our engineer on the ranges for each style.

The PreDelay secondary is really a 'fine tune' control more than an obvious exaggerated effect. The nominal PreDelay is the 12:00 position of the secondary control, and that is equal to the original Flint.

Here is the range of the secondary control: 60's: nominal predelay=0ms (so the left half of the knob range doesn't do anything). Max = 75ms. More info: A spring has a built in predelay of the time it takes for the signal to twist the spring and be picked up by the sensor on the other end. This is typically about 60ms 30ms, and is built in to the physical model of the spring without using an extra delay block. So '0ms" predelay means no added preDelay.

70's: nominal predelay=50ms. Left half goes from 0 to 50ms at noon. Max predelay = 135ms. More info: This one builds its output quicker, so the nominal predelay is a bit longer than the other to create a little separation that sounds nice in general. But now you can go to 0ms if you want more immediate wet signal, or 135ms for bigger reverb sounds.

80's: nominal predelay=20ms. Left half goes from 0 to 20ms. Max predelay=65ms. More info: This reverb architecture creates its output by summing taps from a recirculating structure of delays and filters so there is some baked in 'space' already. So even at 0 you will perceive some 'predelay', That's why the max is only 65ms, because that adds enough to be consistent sounding with the others at max.

There is a bit of pre-delay on each algorithm of the V1 Flint; this was done intentionally, as the units these reverbs were based off also had similar pre-delays.

I hope this helps answer your question!

Cheers,

Victoria Godfrey​

Strymon | Customer Support

KUDOS to Strymon for such a thorough answer.
 
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KingsXJJ said:
Strymon’s answer? It’s adjustable but limited or managed according to mode:

Victoria Godfrey (Strymon)
Jul 23, 2024, 13:58 AKDT

Hello Jason,

Thanks for supporting Strymon!

You can incrementally change the pre-delay time in between the minimum and maximum values. It isn't a huge range, but you can move between them. The following is the information from our engineer on the ranges for each style.

The PreDelay secondary is really a 'fine tune' control more than an obvious exaggerated effect. The nominal PreDelay is the 12:00 position of the secondary control, and that is equal to the original Flint.

Here is the range of the secondary control: 60's: nominal predelay=0ms (so the left half of the knob range doesn't do anything). Max = 75ms. More info: A spring has a built in predelay of the time it takes for the signal to twist the spring and be picked up by the sensor on the other end. This is typically about 60ms 30ms, and is built in to the physical model of the spring without using an extra delay block. So '0ms" predelay means no added preDelay.

70's: nominal predelay=50ms. Left half goes from 0 to 50ms at noon. Max predelay = 135ms. More info: This one builds its output quicker, so the nominal predelay is a bit longer than the other to create a little separation that sounds nice in general. But now you can go to 0ms if you want more immediate wet signal, or 135ms for bigger reverb sounds.

80's: nominal predelay=20ms. Left half goes from 0 to 20ms. Max predelay=65ms. More info: This reverb architecture creates its output by summing taps from a recirculating structure of delays and filters so there is some baked in 'space' already. So even at 0 you will perceive some 'predelay', That's why the max is only 65ms, because that adds enough to be consistent sounding with the others at max.

There is a bit of pre-delay on each algorithm of the V1 Flint; this was done intentionally, as the units these reverbs were based off also had similar pre-delays.

I hope this helps answer your question!

Cheers,

Victoria Godfrey​

Strymon | Customer Support

KUDOS to Strymon for such a thorough answer.
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You should reply to them to add this info to the manual, because those defaults certainly aren't expected.
 
laxu said:
You should reply to them to add this info to the manual, because those defaults certainly aren't expected.
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I’ll leave that to those with a dog in the hunt. I’ve done enough already for a pedal I don’t own or intend to.
 
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