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I love the effects on the OX, but I was a little underwhelmed with the Golden. I just thought is sounded 'ok'.
Maybe I had a defective unit ???
Anyway, I've had a bit of a reverb fight off in the last few months, including the Chase Bliss CXM 1978...
I've gone back to my old favourite - the Neunaber Immerse MKii.
It just sounds and feels great to me.
Ah that is interesting. I did wonder if it could live up to the studio gear in a live situation. Their studio stuff being so great.
Do you use the spring emu on the Neunaber? I ask as I had 10 mins on the GR which wasn't long enough in honesty but I was pushed for time. I thought it may be a contender subject to more messing.. I'm most interested in how good the spring is (I've gone through most of the real and emulation pedals and currently have a Flint which is only on the board due to the Trem and no viable alternatives...)
Si
Well, I am not a massive spring verb fan to be honest; I tend to use hall or (more often) plate.
But I cannot find a bad setting in the Neunaber.
To be fair, I've also got the Dark World, which is also very good. This seems to work well live with the band...
*An Official Foo-Approved guitarist since Sept 2023.
I have the Golden Reverberator. Utterly magical. Booted my beloved Neunaber Immerse II off my 'board' (I don't actually have a board - my pedals sit on my guitar case at the mo!). The UA is not as versatile as the Immerse - the Neunaber does more types of reverbs. The UA is effectively 3 reverbs: spring, plate, hall, with the ability to select 3 different variations of each, and a couple of extra d/l'able from UA (another plate, a chamber-room type), but it *is* more tweakable within the reverbs you have than the Neunaber.
But, and here's the but: the UA sounds unbelievable. I thought the Neunaber was ace - and it is! But UA have really modelled the shit out of the sources. The plate really has that low-end thump of sound hitting a big ol' sheet of metal. The springs really twang and snap like a Fender reveb unit - even more realistically modelled than the Source Audio True Spring. The hall is - according to UA - a bit-for-bit re-creation of the classic Lex 224.
The best thing about it all - it's the most responsive digital reverb I've ever heard. It *feels* liek you're playing a spring reverb. The springs twang harder as you play harder; the plate hits harder with your dynamics.
It's an utter box of magic. Expensive but no regrets. The only real prob is the power consumption: if you don't have a >=450mA 9v port you won't get it it work. And UA don't supply a PSU - whihc is a bit shitty given that it's not that easy to power. I had to buy a whole new PSU as my existing one only went as high as 300mA per port.
Should I buy a £1000 tape echo and a £600+ notoriously breaky vintage analogue delay or the new UA pedal?
Yeah, that's the dilemma we're all facing, isn't it?
Don't talk politics and don't throw stones. Your royal highnesses.
I use the 30ms mostly as a slapback lead tone.
I think the Volante sounds infinitely better for tape delays, and the DMM mode can be found in a dozen other delays to a similar degree of control and authenticity, and digital modes are a dime a dozen.
I don't really see the USP.
I'm sorta getting it now. I think I might get one to try for a week or so, and see how I get on.