Reverb Set To Stun
Posted: Mon Jan 18, 2010 6:40 pm
Soooo a thread on all things reverb related....anything from natural (the first use) in concert halls and the like to surf to...
A problem many of us have using a reverb tank on stage is the issue of unwanted splash...worse on a wooden floor or with a loud drummer you can get more effect or effects at the wrong time then desired. Some bands (Dick Dale) will hang the tank from ropes attached above..I've seen bands use amp stands, walkers (like those used by old folks) etc to deal with this...now Neil Young as his own solution
JO: What effects do you use the most?
NY: An original tube Echoplex, an MXR analog delay, a Boss flanger, and an old white Fender reverb unit with new springs that are separate. The springs are on a microphone stand that goes on the cement floor of the building. It extends up to the bottom of the stage, and the spring stands on top of the microphone stand and the wire comes through a hole in the stage completely separate. I can't use it if I don't do that, because if I jump onstage, the spring rattles. It has to be isolated from the surface of anything that's vibrating.
JO: What if you can't drill a hole in the stage?
NY: No, we do it. We just put a hole in the stage. There's always a way. It can't be very far away, because with a long wire, you lose the fidelity, the high end where the reverb lives, so the magic is gone. You've got to keep it close and really short.
A problem many of us have using a reverb tank on stage is the issue of unwanted splash...worse on a wooden floor or with a loud drummer you can get more effect or effects at the wrong time then desired. Some bands (Dick Dale) will hang the tank from ropes attached above..I've seen bands use amp stands, walkers (like those used by old folks) etc to deal with this...now Neil Young as his own solution
JO: What effects do you use the most?
NY: An original tube Echoplex, an MXR analog delay, a Boss flanger, and an old white Fender reverb unit with new springs that are separate. The springs are on a microphone stand that goes on the cement floor of the building. It extends up to the bottom of the stage, and the spring stands on top of the microphone stand and the wire comes through a hole in the stage completely separate. I can't use it if I don't do that, because if I jump onstage, the spring rattles. It has to be isolated from the surface of anything that's vibrating.
JO: What if you can't drill a hole in the stage?
NY: No, we do it. We just put a hole in the stage. There's always a way. It can't be very far away, because with a long wire, you lose the fidelity, the high end where the reverb lives, so the magic is gone. You've got to keep it close and really short.