Anybody here stack reverb pedals?

[hillerheilman]

Hey all, so I’m in the process of getting the setup for my new pedalboard finalized before I order everything, and I still need to pick a reverb pedal. However, I’ve been thinking about getting two and trying to stack them to get close to that Jeff Buckley “Hallelujah” sound. I’m thinking setting one for a short-medium decay and one for a longer decay would get me close.

Does anybody else here do something similar to this? Any recommendations on what might work better for this application?

[marqueemoon]

Not pedals, but this is my go-to for recording. A short, brighter plate stacked with a longer, darker verb.

I also stack pedal reverb (in front of the amp) with the amp’s spring reverb still on.

If you have some contrast between the two sounds it can be really cool.

[jorri]

Hey all, so I’m in the process of getting the setup for my new pedalboard finalized before I order everything, and I still need to pick a reverb pedal. However, I’ve been thinking about getting two and trying to stack them to get close to that Jeff Buckley “Hallelujah” sound. I’m thinking setting one for a short-medium decay and one for a longer decay would get me close.

Does anybody else here do something similar to this? Any recommendations on what might work better for this application?

Yes it can do something hard to achieve with just turning mix or decay up. I have the space which has dualreverb where its geared toward one verb being on early reflection duty and the other on tail duty. Now i have pre and post drive verb so even more possibilities.

Usually my spring reverb is up on my amp, even when using a 100% hall. And recording for sure, either natural verb or a plugin especially one that comes in stereo on a mono tracking- thats party because i want verb 'after the mic' but not going to outboard everything, so i record with verb pedal and add a touch more plugin flavour.

[parry]

The basis of our band's sound
I usually have the reverb on my Super dimed. I think somewhere along the line it's had an adjustment made to it? Maybe it's "borken" (broken in a good way)? Either way, it's perfect-sounding and doesn't get silly swamped. When I need more, I use the Malekko Spring Chicken. I've gone through quite a lot and have pinpointed that the reason it works best - to my ears - is that the Chicken has a sort of pre-delay-ish bounce that adds to the sea of reverb, but keeps the signal identifiable when you strike notes or chords, if that makes sense. I've had dual Spring Chickens at times, but currently favour dual delays and a single chick.

ymmv, but I think if you're looking for something that has that beautiful sea of reverb type sound, but maintains some clarity... you might want to find something that has that pre-delay thing happening. If I recall... I think the Death By Audio Reverberation Machine was pretty good (it had other volume issues, ultimately) and pretty much anything that has the earlier Belton Bricks in them.

[marqueemoon]

Yeah. Predelay helps. I use a Catalinbread Talisman for my three piece. The other nice feature of that pedal is the high pass filter. You can set it so reverb only gets applied above a certain frequency threshold so it doesn’t get muddy.

It also has an output control with plenty of juice, so it could be used as a solo boost or just to push the amp.

I know Source Audio has a dual reverb. That might be worth looking into.

[Larry Mal]

However, I’ve been thinking about getting two and trying to stack them to get close to that Jeff Buckley “Hallelujah” sound.

I think you will find this interesting.

[hillerheilman]

However, I’ve been thinking about getting two and trying to stack them to get close to that Jeff Buckley “Hallelujah” sound.

I think you will find this interesting.

Pretty much exactly what I was thinking of doing. Just not sure which pedals specifically to use. I think as others have said, a bright very short reverb stacked with a darker long reverb is probably the way to go

[Larry Mal]

However, I’ve been thinking about getting two and trying to stack them to get close to that Jeff Buckley “Hallelujah” sound.

I think you will find this interesting.

Pretty much exactly what I was thinking of doing. Just not sure which pedals specifically to use. I think as others have said, a bright very short reverb stacked with a darker long reverb is probably the way to go

Yeah, Paul Davids makes recommendations in that video, but mainly he points out how you don't need to spend a lot of money and what you already have might do just fine.

Frankly, if he says it, I believes it, because I'm a big fan of Paul Davids.

[andy_tchp]

Jeff Buckley “Hallelujah” sound.

..

Any recommendations on what might work better for this application?

Yep. An Alesis Microverb will get you very, very close IME. Not a pedal, but about the size of a big one and is footswitchable.

He used the (much bigger) Quadreverb IIRC.

[hillerheilman]

Anybody here have experience with Walrus Audio reverbs? Namely the Slo and Fathom. I’ve had them recommend to me by a couple people. I think they’d be cool together. Anybody know?

[shoule79]

Not pedals, but this is my go-to for recording. A short, brighter plate stacked with a longer, darker verb.

I also stack pedal reverb (in front of the amp) with the amp’s spring reverb still on.

If you have some contrast between the two sounds it can be really cool.

This is my recipe to a T.

I use a Neunaber Wet (medium) and the hall on my Flint (longer).

[Iheartreverb]

Anybody here have experience with Walrus Audio reverbs? Namely the Slo and Fathom. I’ve had them recommend to me by a couple people. I think they’d be cool together. Anybody know?

Always stacking reverbs, the massive changes in delay/ decay and texture and be far more interesting that loud/ quiet of distortion (at times)

To answer your question, I have a SLO. For the most part I find most modes too subtle for my taste. I mainly use the the ‘Dream’ mode party for the fact you can have the modulation moving backwards and forwards on it (something that a producer recommended and subsequently did on a recording for me) but also this is the only mode that works as a latch (freeze), it’s also the brightest sounding of all my reverbs to try and emphasise its effect when used. Personally I can’t find a reason to use it as an “always on” reverb but still can’t find myself parting with it.

[Mondaysoutar]

I use an Boss RV-5, set mostly at noon and a EHX Oceans 11 both on spring. The RV-5 is a pretty dark spring, whilst the Oceans 11 can be crazy bright if needed- both good on their own, good stacked also.

Recently gave the shimmer setting a go stacked with the RV-5 on my normal setting, sounds pretty pretty good.

The Oceans 11, I’ve found to be anyway, is such a versatile and affordable option for a reverb pedal.

[sunburster]

I run a Flint > Big Sky > Neunaber Immerse MK II. There are a few delay pedals between the Flint and Big Sky. I usually don't run all three reverbs at once, but I often run a Big Sky Hall or Cloud algo into the MKII's Hall. Sometimes I'll run the Flint's Hall or Plate into delay and then back into reverb with the Big Sky.

[Shadoweclipse13]

I do, but only if I'm trying to get a really syrupy sound. I try to not do it too often because the 2 I use aren't at subtle settings. I use a EQD Afterneath before my gain, and a Caroline Meteore at the end/after my delays. Can be very dreamy.