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April 1, 2008 at 2:58 pm #105527mallcornParticipant
I am in the market to buy a high quality reverb to use live for guitar. My application will grab guitar signal after amplifier but before speaker cabinet, pass thru to speaker cabinet at the same time recondition to line level, pass the line level signal to a reverb unit, then on to another clean amplifier. Has anyone used the Eventide 2016 for guitar (in a playing live environment) that can provide feedback regarding the pro's and con's of this unit in this application. I am most interested in any coloration, change of original tone, or other related things I might not be aware to consider.
April 1, 2008 at 3:17 pm #117285IDeangelisMember
the Holdsworth thing!
Technically there is no reason why this isn't possible as for any other line level capable fx, once the signal has been *safely* treated to line level.
The question about "coloration" really applies to the signal reconditioning. As Holdsworth has many times ackowledged, the devices used for such task have a strong tendency to sound coloration. On the other hand any time domain fx used in a pro rig should be run in parallel, by means of line mixers or routers. This ensures everything works at the best.
Eventide converters are probably the best ever used in fx devices, in term of sound transparency, dynamics and headroom. I wouldn't really be bothered by this…. what is the thing I worry about is the signal "reconditioning"…to get THAT at pure, natural tone quality, is still not easy.
all the best
April 2, 2008 at 4:17 am #117292DaveFXParticipant
I don?t play guitar, and I haven?t used the Reverb 2016 live, but I can tell you from my experience owning one that the front panel user interface has two great features:
1) There are no menus for the sound, only the rotary encoders that show you their states with the rings of LEDs. This lets you play, flick a knob, and play some more to see if you like the change.
2) The knobs parameterize the sound in an unusual way I like. For example, conventional wisdom might suggest that turning up a reverb mix makes something sound more distant — and I could agree with that — but the 2016 has separate controls for Mix (dry to wet) and Position (front to rear). I played with it one evening, I went to bed a little confused, I woke up the next day, and it made perfect sense. Now I can dial up sounds I like quicker than with other reverbs. That?s just my opinion and taste.
Algorithmically, Italo has pointed out the 2016 has no internal delay modulation or chorusing inside the reverb to kill spurious resonances. Instead the delay networks were engineered with a particular parameterization to address this issue. If you audition the reverb in isolation, it sounds different than the ?prettier-than-life? tails that other reverbs can generate by stirring the soup with delay modulation, but the Reverb 2016 never sounds computationally cheap, and the original SP2016 units have a loyal user base after 30 years because some people really like the sound. If you hear the reverb mixed with other sounds, it might give you a certain presence you might really like, depending on the style of music you play.
April 2, 2008 at 1:13 pm #128395IDeangelisMember
The POSITION parameter is a simple magic delay trick. Available on H3000 Dense Room, on some DSP/Orville/H_series reverbs and on Eclipse Dense Room8 and 16 algorithms.
2 delays feed 2 diffusors which feed the reverb. The delays and fiffusors are also sent to the outputs, in parallel to the reverb. By raising/lowering the parallel delay path level you get the impression of hearing your position in the reverberant space as being more upfront or in the rear. Great to simulate walls around the sound source or the distance in the verb field. Nice on screaming solos! The tone gets very thick in upfront position.
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