Today’s post will look at the Top 12 Spring Reverb Pedals in 2023. A reverb pedal is an essential component of every pedal board. These pedals come in different shapes and sizes and offer different controls and adjustable parameters.
When a sound is played in a closed space, the sound waves disperse in all directions, hit the nearby walls, and are reflected. The purpose of reverb pedals or reverb effects in amps is to recreate this reflection of sound waves and deliver it alongside the original sound. The “dry” signal refers to the initial, uncolored sound and the “wet” sound refers to the generated reverb.
Spring Reverb vs Plate Reverb: What’s The Difference?
A Spring Reverb setup includes a metal tank with springs suspended between transducers. The dry sound reaches the transducer, is converted into spring movement, and then converted back to sound by the transducer at the end. The spring vibration adds reverb tails to the signal, thus achieving spring reverb.
Plate Reverb uses a slightly different mechanism. A large metal plate is suspended on all four sides in a large frame. A transducer lets sound flow through it while mics on the back pick up the plate vibrations. This is how plate reverb is added to the dry sound. However, since these plate reverb units are large and heavy, their usability is confined to studio setups.
Lucky for us, with all the technological advancements going on, effects manufacturers have succeeded in making tiny pedals that replicate the effects of spring and plate reverbs digitally without costing too much or taking too much space in a setup.
What’s The Spring Reverb Pedal Good For?
Because of the spring tank’s construction, spring reverb enhances low-end frequencies. This is because lower frequencies have the strength to travel further along the springs in the tank compared to the higher end. So, a good option to bring some color to the low end is to add a dash of spring reverb.
Since it has different sound characteristics, spring reverb can be used simultaneously with other reverb effects to thicken the overall reverberation. In addition, using it alongside plate reverb adds a unique width and ambiance to your overall sound.
Our list today showcases spring reverb pedals from some leading manufacturers specializing in music equipment, pedals, and effects processors. You will get an in-depth analysis of all the features and capabilities of these little music boxes so you, too, can choose the one that suits you the most.
Top 12 Spring Reverb Pedals You Can Get 2023
1. Universal Audio UAFX Golden Reverberator Pedal
The Golden Reverberator is Universal Audio’s flagship reverb pedal with multiple effects.
On the Reverberator, you find three different effects inspired by some classic reverb sounds from the golden era of music. Through the 3 ways selector switch, you can toggle between “Spring 45”, “Plate 140,” and “Hall 224”. If that isn’t enough variation, you can access 3 different versions in each effect by toggling the plate A, B, and C settings.
So, the solidly built Golder Reverberator is pretty much all you need to take care of all your reverb needs. The pedal’s versatility can also be seen on the back as it offers both mono and stereo connectivity, opening doors to some creative applications. Whether a studio setup or a live performance, you can count on this reverberator to give you fascinating results.
On the back of the Golder Reverberator are a couple of mono input/output and similar stereo input/output pairs. Typically, the mono connects a guitar to the unit, while the mono out can be connected to an amplifier. You can also connect another amp to the stereo out port. The USB port on the back of the pedal can be used to hook it to a computer for software updates. Finally, the Reverberator works on 9V and has a power port on the back.
- Reverb Controls
The first knob on the pedal controls the “Decay” of the reverb effect and adjusts how quickly or slowly the tail of the reverb effect is supposed to fade away. Next, the “Predelay” control sets the gap between the dry signal and how soon the reverb comes into effect. Finally, the “Mix” knob, the last parameter on the top row, helps to decide the mix between the dry signal and the reverb effect. Cranking this knob all the way up will completely mute the dry signal, and all you’ll hear will be the reverb taking over. The “Live” mode can be activated by pressing the left foot switch twice, while pressing it a third time will switch it off. In the live mode, the pedal will react according to the current settings on the interface. In “Preset” mode, however, the current controls will be ignored, and the saved preset will come to life. Flicking the “Store” switch downwards activates storage mode.
- EQ & Mod
The Golden Reverberator has a 2 band EQ to get the most out of your reverb sounds. The “Bass” knob is centered at 12 o’clock and enhances the lower frequencies when rotated to the right. The “Treble” knob controls the response of the higher frequencies for the reverb tail. Finally, the “Mod” controls can adjust the intensity of the modulation depending on the selected effect.
- Spring 45
The “Spring 34” effect simulates the tube-based spring reverb sounds of classic guitar amps from the 60s. The folks from the R & D wing at Universal Audio went to great lengths and auditioned more than 20 spring tanks to pick three of the best-sounding ones to program onto the Golder Reverberator. The Spring 45 effect pushes out a version of reverberation that is whistly and clangy and embodies the characteristics of the tube spring reverbs of the past. The “Bright DLX” variation has touch sensitivity and adds a whole new dimension to your playing, as the more aggressive the pick attack, the more profound the reverb splash will be. Feel free to channel your inner John Mayer and play those percussive riffs on this setting. The next variation, the “Smooth Show,” has an enhanced mid response and impressive warmth. Finally, the “Ambient DLX” setting has a longer decay with great resonance.
- Plate 140
The “Plate 140” gives a tremendous amount of shimmer in the reverb tail. If you want to immerse yourself in the ambient sounds of the late 50s with their warm body and wide feel, the plate 140 will not disappoint you. The three variations include a bright sound with a definitive roll-off, an older plate sound with a longer fade away, and a new plate sound with a longer tail and sensitive response along all frequency ranges.
- Hall 224
Inspired by the Lexicon 224, the “Hall 224” combined with the bass and treble knobs gives way to ambient sounds that remind one of the alternate rock tones of the 80s. This mesmerizing ambiance can be further enhanced when tweaked with the EQ on board the Golder Reverberator. Moving the bass knob to the right increases the decay and makes the tail sound like there’s a choir in the background. The three variations you get here are “Room” settings, “Small Concert Hall,” and “Large Concert Hall.” In room mode, you’ll experience low levels of coloration with medium-level density. This variation sounds extra wide when used in a stereo setup. The small hall sound is bright and trebly in its decay. The density experienced here is moderate. However, the large concert setting is the way to go if you’re looking for longer reverb time.
- Chamber & Plate 224
Registering your device unlocks the “Chamber & Plate” effect, which gives you a taste of three additional variations called “Percussion Plate,” “Constant Density Plate,” and “Acoustic Chamber.” The percussion plate setting is ideal for percussive riff work and exhibits a high initial density. The second variation gives way to a plate sound with a high density that remains stable over time. Finally, the chamber setting has its best application in shorter reverb time. The effect sounds like a chamber with a low-density output.
With so many effect variations, the Golden Reverberator is more of a comprehensive effects processor than a simple reverb pedal. Moreover, when you register your Reverberator on the Universal Audio website, you get an additional reverb effect called Plate and Chamber 224. This multidimensional pedal is highly customizable, so you won’t find yourself looking elsewhere anytime soon.
The Golden Reverberator isn’t midi enabled. Upgrading the device’s firmware is a hassle as the downloading process doesn’t go as smoothly as it should on slightly older operating systems. It would’ve been better if the package included a power supply.
2. Strymon blueSky Reverberator Pedal
Each Strymon BlueSky unit is handcrafted, so you can be sure of getting a quality product when you buy it.
Under the solid chassis of the blueSky Reverberator lives a highly advanced circuit board with high-performing converters that keep noise to a minimum. The Reverberator has several types and modes, which combine to give some outstanding results. The user interface is easy to use, and the multipurpose foot switch is solid in construction.
The think tanks at the Strymon company know what they’re doing and have packed their Reverberator with innovative ideas. For instance, having limited real estate on the control layout, the blueSky Reverberator uses button combinations to implement some hidden features.
The Strymon blueSky is powered by a 9V power adapter, so the first thing you see on the back is a power port for it. The Reverberator Pedal has mono input/outputs and another pair of input/output ports for stereo processing. In the simplest setup, your guitar can connect directly to the mono input, and the guitar amp can connect to the mono output.
- Basic Controls
The Strymon blueSky is quite similar to the Golder Reverberator in its control layout. The pedal has the same “Decay” control that can manipulate how long the reverberated signal takes to wear off. For smaller rooms, a lower decay can be set, while for larger setups, a higher decay will build a wide surround type feel which won’t fade away too quickly. The “Pre-Delay” parameter is very important and sets the gap between the original signal and the associated reverb effect. Setting this parameter right is crucial to ensure your sound remains clear and pronounced. Next, you get dedicated “Mix” controls to decide the ratio between the original and wet signal. Moving the mix knob to the extreme ends makes for some interesting results. Strymon recommends a lower mix setting for more natural sounding tones when the pre-delay is set high.
- Foot Switches
You’ll find two metallic foot switches on the Strymon BlueSky labeled “Favorite” and “Bypass.” The favorite foot switch, when long pressed, allows you to save the current control settings as a favorite. Then, a single button press at any time lights up the favorite LED, and your favorite tone can be instantly recalled. The bypass button on the right acts as a true bypass. Also, pressing the button while powering the unit on will switch it to analog bypass mode.
- EQ Settings
The next two knobs on the interface labeled “Low Damp” and “High Damp” act as a 2-band EQ. Both these knobs act like tone controls and target the reverb decay. Moving to a lower setting will cause a dampening of relevant frequencies in the decay trail, while a higher setting will show more representation of these frequencies in the tail. Pressing both foot switches together and moving the mix knob gives the user options to cut or boost the highs and the lows by -/+3dB.
The 3-way toggle switch can select options between “Plate,” “Room,” and “Spring” reverb. The circuitry of the Strymon BlueSky simulates plate and spring vibrations very accurately and shows off some vintage-style sounds. The room setting allows the user to choose between smaller setups like a 3 bedroom feel or the widespread ambiance of an arena. Using the low and high damp settings with these reverb types can bring some unique sounds to the fore. For instance, you can manipulate the damp controls to recreate the sounds of spring tanks of different ages.
Just like the types section, a toggle switch can help choose between “Normal,” “Mod,” and “Shimmer” modes. The mode settings are used in combination with the reverb type. In normal mode, the selected type remains as it is and isn’t modified at all. However, different modulation effects are applied to the chosen type when mod is selected. Shimmer is the more advanced mode that works on the principle of regenerative octave shifting. When the room and spring type are selected, a fifth plus an octave is added to the sound.
- Sample Settings
The documentation with the Strymon blueSky has some handy suggestions to get you going as soon as you unbox the unit. The samples include multiple effects, each showing helpful diagrams of the user interface so that the setting can be easily implemented.
The Strymon blueSky doesn’t only look good but sounds great too. There’s more to it than meets the eye, as button combinations reveal more features. The shimmer mode is great to experiment with and offers regenerative octave changes that help unleash your creativity. The pedal is built like a tank, and the switch buttons make toggling different features a cinch.
Some connoisseurs may find the Strymon blueSky Reverberator Pedal very dry-sounding and digital. You may also be tempted to spend 50 odd dollars more to purchase the Strymon Bigsky, the flagship pedal that leaves the blueSky way behind in all aspects, including reverb types, preset recall, input/output options, and much more.
3. Keeley Omni Reverb Pedal (Spring, Plate & Room)
This tiny magic box is built to impress.
If your pedal board is missing a reverb pedal, you need to try out the Omni Reverb pedal asap. Built to perfection, Mr. Robert Keeley has outdone himself by packing this minuscule device with splashy spring sounds and shimmery plate simulations. In addition, the room settings will surround you with the perfect acoustics for the occasion.
Doesn’t matter if you’re in your garage phase or playing on a grand stage in front of a large audience. The Omni Reverb pedal proves you don’t need to break the bank to achieve professional-sounding reverb tones. Simply pop it into your guitar case and take it wherever you go.
The Omni Reverb pedal by Keeley Engineering is a small unit. Measuring just 1.85″ x 2.63″ x 4.37″, the diminutive pedal will hardly take any space on your precious pedal board. Simplicity is the keyword when you think about the control layout, as even a layperson can use it easily. Keeping input/output options to a minimum, the pedal has just one instrument input and an output which could go straight to an amp or to the next effects unit on your pedal board. The section on the back is reserved for the 9V power jack. The single foot switch turns the unit on or switches to bypass mode. The “Power” LED indicates that the device is on.
- Knob Controls
The main interface of the Omni Reverb pedal has a couple of knob controls. The “Dwell” knob is where the magic happens. It not only adjusts the tail of the reverb but has different results when used in each selected mode. The next knob on the device is the “Level” knob. Simply put, you can adjust the volume of the reverb effect by rotating it. The level control comes in handy, especially when playing over layers or soloing, and keeps the reverb effect from getting lost in the mix.
The Omni Reverb pedal has a three-way switch to select one of the three reverb effects. The first effect is the “Room” reverb. This emulates, with great accuracy, the acoustics of a small living room. Playing around with the dwell knob lets the effect shine through and can easily get you the room sound you’re looking for, regardless of the room size and contents.
Keeping the switch in the central setting selects the “Spring” reverb. The spring effect on the Omni Reverb pedal is based on the sounds emanating from a two-spring tank. The spring reverb sound is splashy and, combined with the dwell knob, is enough to excite any blues guitar player. If you’re looking for a thicker sound, crank the knob controls up, and you’re good to go.
The last switch setting selects the “Plate” reverb modeled after the infamous EMT 140 classic plate reverb sound. The plate setting gives way to lush sounds with a longer reverb tail. If you want to set the mood for a ballad, the ambient plate sounds can create a nice platform for you to build on. You can also use these settings in the quieter parts of a song before you build up into an upbeat chorus or a face-melting solo.
The reverb pedal has a very clear control layout with no hidden features. The dwell control knob is intuitive and reacts differently in each setting. The room mode will have you sounding great regardless of your surrounding acoustics, and you can’t beat the classic EMT plate sound this little wonder delivers.
While the Omni Reverb pedal is extremely simple to use, this simplicity comes at a price. What you see is what you get. You may not get as many effect combinations as from some of the bigger, more versatile pedals on the list. Also, you get just one mono input/output option on the pedal.
4. Electro-Harmonix Holy Grail Nano Reverb Pedal
Here’s a more compact version of the original Holy Grail pedal.
They must’ve been talking about the Electro-Harmonics Holy Grail Nano Reverb pedal when they said, “good things come in small packages.” This little pedal embodies an efficient design without too many complicated knobs or switch controls. No wonder the Holy Grail Nano has gained such popularity with time.
The Nano pedal brings some interesting interpretations of classic reverb sounds with just enough modification options to suit any genre of music. So simply plug your guitar into it and start experiencing some mesmerizing ambient sounds, engulfing acoustics, and let those percussive riffs speak out like never before.
This nano-sized box measures just 2″ x 2.2″ x 4.2″ and is designed to fit on any cozy little space on your pedal board. This reverb pedal has everything you need with a mono input for your instrument and output to go through other pedals or directly to an amp. The device is powered by a 9V power supply included in the box. The single foot switch on the interface turns the unit on or switches it to true bypass mode. The only controls you find on the Holy Grail Nano are a knob to control the level of reverb and a switch to select the three available effects.
- Hall Setting
The three-way toggle can be set in the middle to access the “Hall” settings. You can adjust the “Reverb” knob to get the desired intensity of reverberation. Moving the knob to the far left will cut the wet signal so you can hear the signal coming straight from your guitar. Moving it to the far right completely eliminates the instrument’s sound, and only the reverb sound is heard. Generally, the hall setting is rich and warm. The effect is touch-sensitive, so the more aggressively you play, the more reverb can be experienced and vice versa.
- Spring Setting
Flipping the switch to the top activates the “Spring” settings. The Holy Grail Nano recreates with pin-point precision the spring reverb sound that was made popular by classic Fender amps during the 60s. Varying the intensity through the reverb knob creates some fascinating tonal results. So if you’re into that surf feel, the spring setting will get you there.
- Flerb Setting
The third and final effect is called “Flerb.” Unlike what you may find on other reverb pedals, the flerb setting is a unique combination of reverb and flanger. This setting makes your chords sound deep and enchanting. The reverberated flanger effect becomes ever more noticeable when distortion is added.
The Holy Grail Nano Reverb pedal is extremely affordable and gives you good value for your money. The flerb setting gives you a unique blend of reverb and flanger to work with, while the hall mode is rich and detailed. The spring settings deliver some nice twangy tones to add a new facet to your playing.
The Electro-Harmonix Holy Grail Nano Reverb Pedal has a lot to offer at a low price point but could improve in a few aspects. For example, a level knob could prove useful for bringing the reverb effect to the fore to prevent it from being overpowered by the mix. In addition, the effects selection switch is poorly constructed and may malfunction or stop working after rigorous use.
5. Wampler Pedals – Mini Faux Spring Reverb
The Mini Faux Spring Reverb Pedal is an upgrade of its predecessor, the regular Wampler Faux Spring pedal.
While the concept and circuitry resemble the older version in many aspects, there are some subtle changes. For instance, the reverb time on the previous model ranged between 2 – 2.3 seconds which is very limited compared to the newer model. The Faux Spring Reverb pedal features a reverb time of 1 second to almost 3 seconds, making it much more versatile.
The second and more obvious difference is its size. The mini Wampler is much smaller than its older brother and hardly occupies space on your guitar rig. The layout design on this reverb pedal is rather simple. No selector switches on this one. Just a bunch of knob controls.
The Mini Faux Spring Reverb Pedal from Wampler comes in a beautiful emerald-green metallic body measuring just 1.5” x 1.5” x 3.5”. The pedal has an input port on the right for connecting an instrument and an output port on its left side. The standard 9V power port can be found on the rear side. Unfortunately, the package doesn’t include a power supply. The single-foot switch turns the unit on or bypasses it when needed. When active, the amber power LED lights up.
The depth knob emulates the characteristics of different-sized spring tanks. Increasing the depth recreates the sound of larger reverb tanks with loose springs to give a washier sound. In contrast, lowering the depth delivers the sound of a smaller and tighter spring tank. Combining the depth control with the tone knob creates some exciting reverb sounds.
With the tone knob, the sound can be adjusted to show brighter or darker characteristics. Turning the tone control clockwise will deliver a bright, twangy sound with percussive qualities. You can finger-pick those chords and tap the strings with your playing hand to add some groove to your playing style. The touch sensitivity of the brighter tones keeps the guitar player and the guitar on the same page. Turning the tone knob down makes for darker sound delivery with a more subdued tone. Combining the tone and depth controls gives more possibilities and freedom to shape your reverb sound.
An essential part of every pedal is the “Volume” knob. The volume control ensures that the reverb sound is prominent in your mix and doesn’t stay hidden in the background. Turning the volume up will strengthen the presence of the wet signal, while moving the knob counterclockwise will create a more subtle reverb sound. For instance, The volume needs to be adjusted carefully if the reverb pedal is followed by any unit that generates gain, like an amp. Setting the level of your amp and then adjusting the volume of the reverb pedal should be the general order of things.
The people at Wampler have reinvented their Faux Spring Reverb Guitar Effects Pedal, which means that this iteration has an improved reverb time and is more compact. The product guide includes some company-selected settings which sound great, including Classic Spring, Ambient Texture, Small Tank Splash and Long Spring, and High Tension.
Some users may describe the reverb effect as being subtle and non-splashy. Unfortunately, the Wampler Mini Faux Spring Reverb Pedal is as simple as it gets and doesn’t offer different modes or types of reverb effects. Furthermore, the controls have limited functionality as you cannot store and recall a preset.
6. Mad Professor Silver Spring Reverb
The Silver Spring Reverb (SSR) from Mad Professor is another highly rated reverb pedal.
The device has a unique way of managing some of its main features. For instance, the Silver Spring Reverb pedal refrains from using noise reduction technology to keep a natural decay sound. If you want to experience some cool ambient sounds while maintaining the characteristics of the dry signal, you must try the SSR pedal.
Dubbed the Silver “Spring” pedal, this reverb pedal employs three knob controls that adjust different reverb-related parameters like reverb time, tone, and reverb intensity. Instead of switches to select different effects, the SSR pedal offers knobs that can blend to create different reverb effects.
The Silver Spring Reverb pedal has an interface similar to the Wampler Reverb pedal discussed earlier. The interface has a single foot switch to bypass the unit from the effects chain. The same switch can power the unit on, causing the power LED to light up. The input port is on the right for connecting a guitar, and the single output allows amp/pedal connectivity. In addition, a 9V power port is found on the back of the device. Lastly, the pedal has three different control knobs for adjusting various reverb-related parameters.
One of the three control knobs is the “Time” knob. The decay time can be adjusted by rotating the knob clockwise or counterclockwise. When moved to the extreme right, the sound/acoustics resemble a smaller room setup, while moving in a clockwise direction increases the delay. You can experience a large hall sound when the time parameter is fully cranked up. However, a 12 o’clock setting is recommended for chord work or playing single-note melodies.
Next to the time knob is the pedal’s “Tone” control. Here you can vary between the vintage spring sound or a studio reverb. The knob adjusts the bandwidth, so you’ll get a darker sound at the lower setting and a brighter sound when it moves clockwise. Combining this feature with the other two knobs really brings out the versatility and capabilities of the Silver Spring Reverb Pedal.
The final control on this diminutive pedal is the “Reverb” knob. This controls the amount or intensity of the reverb effect on the dry signal. Moving clockwise increases this parameter while moving in the other direction reduces its effect. However, even in the far-left setting, there will be some amount of reverb present.
The three knob controls on the Mad Professor Silver Spring Reverb pedal offer unique blending options to explore various spring and studio reverb sounds with varying intensities. The reverb knob helps thicken out single coil pickups and works well with humbuckers too. In a single pedal, you get the subtleties of gentle reverb levels for clearer tones and a more profound presence when distortion is added.
The Mad Professor Silver Spring Reverb lacks a preset recall feature, so if you’re on a live stage and need different settings on the fly, you’ll have to tinker around for a while to get what you need. In addition, the foot switch circuitry is a bit buggy and may generate popping sounds when pressed. Finally, billed as a spring reverb pedal, the device doesn’t deliver a particularly high-end spring reverb sound.
7. TC Electronic Drip Spring Reverb
TC Electronic is known for its technical prowess in the guitar effects arena.
This particular Spring Reverb Pedal has decent control options to dial in just the right kind of spring reverb and comes in a rugged metallic body built to last. Not only that, but the good people at TC electronics have ensured that their reverb pedal hardly costs you any money.
The Drip Spring Reverb from TC electronics can be a very handy addition to your pedal board. The pedal gets you pretty close to those vintage sounds and mesmeric ambiances derived from the spring tanks of the 1960s found in some classic amplifiers. This pedal is a must-have if you’re looking for a classy blues tone or want to play some surf music.
The Drip Spring Reverb pedal from TC Electronic is sized at 2.3” x 2.9” x 5.2”. The unit has a mono input and mono output ports, both of which are placed on the top panel and includes a port for the power supply sold separately. The pedal has a single foot switch design. The button toggles between on and true bypass settings. Lastly, the pedal has three control knobs to adjust the reverb settings.
The “Dwell” knob helps to set the decay or the length of the reverb tail. Cranking the knob up delivers a longer reverb tail while moving counterclockwise will slowly decrease the decay time. If you’re looking for a small room feel, you can set the control anywhere before the 12 o’clock position. Moving beyond will make you enter the realms of the hall/arena ambiance.
The “Tone” knob is an EQ control that helps you set your reverb sound’s brightness or darkness. Turning the knob to the right enhances the higher frequencies and brings brightness to your tones while moving the other way makes the tone a little subtle with a better response in the lower frequency range.
Finally, the “Mix” helps set the relationship between the dry signal and the reverberated signal. As you move the knob to the far right, the mix changes to deliver more of a reverb sound and less of the dry signal. This setting is ideally suited for surf music. Turning the knob down will reduce the wet signal and bring more focus to the original signal from the guitar/instrument.
The TC Electronic Drip Spring Reverb Pedal has just enough controls to dial in some fantastic warm tones for blues work and jazz solos. If you’re into surf music, crank up that tone knob and get the brightness you need to surf those waves like a pro. Given its tonal capabilities, the TC Electronic Drip Spring Reverb Pedal is extremely affordable.
The TC Electronic Drip Spring Reverb Pedal, while great in its execution of springy reverb sounds, does falter at times when applied over clean tones. In addition, some users may experience snaps and pops, which may only be overcome by turning the control knobs down, which consequently takes a toll on the overall tone. Perhaps something slightly expensive would deliver better quality.
8. AZOR Reverb AP311
The Azor series has a multitude of different colored pedals.
The company behind the Azor product line is based in China and specializes in affordable nano-sized effect pedals that deliver decent tones. Some Azor pedals are designed for effects like overdrive, chorus, reverb, compressor, phaser, multiple distortion variants, and much more. In addition, each pedal has its own distinct color.
The reverb pedal from Azor is a tiny metallic unit measuring just 3.7” x 1.7” x 1.3”. Its diminutive size allows you to accommodate the device anywhere on your pedal board easily. You won’t see too many controls on the unit, but the two available knobs can combine to generate fascinating reverb sounds.
The Azor Reverb AP311 has a mono input for instrument plug-in and a mono output for connecting to an amplifier/speaker system. The device is of the single foot switch variety, which can be used to either power the unit on or bypass the effects chain. Once on, the power LED will light up. The pedal’s right side has a power jack for the 9V power supply, which is sold separately. The main controls on the interface include a couple of parameter adjustment knobs.
First up, the AP311 has a “Dwell” knob on the user interface. The length of the reverb’s tail can be adjusted using this control. Moving the knob clockwise gives a longer decay time which starts to shorten as you rotate towards the left. A longer decay time means the reverb effect will linger on for a while after a note is played to give the sound some width.
A familiar parameter on most reverb pedals is the “Mix” control. You can crank the mix-up if you want to hear more wetness in the signal. However, if you want more of your original dry signal and just a small bit of reverb, start adjusting towards the left. You’ll need to find that sweet spot where the relationship between the wet and dry signal is just where you want it to be.
- Sound Characteristics
The pedal sounds quite impressive, considering its low price. The reverb effect can be programmed to deliver width or a smaller, more compact feel. Fiddling with the mix controls can keep things conservative or enhance the ambiance for a more pronounced immersive sound. It’s all a matter of preference.
The Azor Reverb AP311 is priced extremely cheap, but that doesn’t stop it from delivering some high-end reverb sounds that you would expect from more expensive pedals. While the control options are limited, they seem adequate as combining the dwell and mix knobs produces exciting reverb tones.
While the knob controls work well together to give way to some nice reverb variations, the pedal might not be suitable for those who want more. If you’re looking for some EQ controls or a switch that you can flip to access different modes/styles of reverb, the AP311 reverb pedal from Azor just doesn’t cut it.
9. JHS Pedals Spring Tank
The Spring Tank pedal from JHS takes after its name and is built like a tank.
However, the “tank” the pedal refers to here is the type of reverb generated by spring-loaded tanks of different sizes and variations. While the pedal has some conventional features, the people at JHS have packed the spring tank pedal with some characteristics that give it an innovative spin.
While the control layout may look a little complicated after reviewing some of the simpler single switch pedals on the list, the Spring Tank is a unique combination of versatility and simplicity. And if you’re after some twangy, touch-sensitive sounds or want to get absorbed in indulging ambiances, look no further than the Spring Tank reverb pedal.
Being a double-foot switch pedal, the Spring Tank measures 5” x 2.8” x 2.3”. The pedal has a mono input and a mono output on the back panel, which also has a 9V power port. The power supply is not included. The unit has a separate port for connecting with effects pedals which requires reverberation before them. Six knobs arranged in two rows of three control different aspects of the pedal. On the bottom are a couple of foot switches with corresponding LEDs to indicate that the relevant button is active.
- Knob Controls
The first knob on the unit is labeled “Boost.” You can control the volume of the reverb effect by adjusting the boost knob. This feature comes in handy and helps set the involvement of the reverb in your overall sound. Moving the knob to the far right will add more prominence. The next knob controls the “Depth” of the reverb. This is similar to the room and hall settings you see on other reverberators. Moving the knob to the right gives a bigger feel, while moving it clockwise sounds like a small room setting. The “Length” knob controls the reverb’s decay. Moving the knob clockwise increases the decay time. The “High” knob refers to the high pass filter adjustment. The HPF makes the overall sound tighter by removing unwanted frequencies. Moving the control clockwise gives a brighter sound while going the other way makes the sound darker and subdued.
The Spring Tank Pedal from JHS has two “Tank” knobs. The black “Tank 1” knob acts as a mix knob as seen on conventional pedals and adjusts the relationship between the dry and reverberated signal. Moving clockwise increases the mix value. The second, more noticeable bright red knob labeled “Tank 2” has an interesting concept behind it. Paired with the “Tank 2” foot switch, the red knob gives you additional control for adjusting the reverb mix. This means that you have two reverb effects at your disposal at any given time. Tilting the pedal to the side reveals two options that allow you to use the Tank 2 feature separately or in combination with Tank 1 simultaneously.
For those who like a little reverb all the time and need a separate setting for parts of a song or a playlist, you can easily achieve this with the Tank 2 option. Both Tank options can be used separately or at the same time. In addition, the high pass filter effectively brightens up or darkens your reverb sound instantly.
The JHS Pedals Spring Tank lacks the kind of reverb level you need to dish out some surf music. Some users have had issues with the poor construction of some of the knobs. Also, the reverb pedal may sound buzzy and noisy when hooked to a guitar with an active EQ and high-gain pickups.
10. Mosky Spring Reverb Guitar Mini Effect Pedal
Mosky Audio Technology is a Chinese manufacturer based in the Shenzhen region.
The company is technically very accomplished and is known for delivering impressive musical instruments, pedals, and guitar effects processors. Over the years, the company has delivered countless pedals in the 3.7” x 1.6” x 1.3” size that don’t take too much space on your board and provide a decent value for the money spent.
They have tons of pedals for EQ, chorus, fuzz, compression, distortion effects, and much more. The general strategy along the whole product line is to deliver a simple design in an ultra-compact size with impressive tonal characteristics at a fraction of the cost compared to the competition.
The Spring Reverb pedal from Mosky is a pinkish/purplish (take your pick) unit with a single foot switch design. Press the switch once to power the unit (a bright blue light turns on) and press it again for true bypass. The pedal also has a couple of control knobs to adjust parameters and dial in the preferred reverb sound. On its right side, the pedal has a mono input for hooking up a guitar, while the left has a mono output for connecting to an amp.
The first knob on the pedal is the “Mix” knob. Much like with other reverberators, with the mix knob, you can decide how much of the wet or dry signal you want to be heard. Turning the mix control to the right increase the reverb effect in the mix, while going the other way starts to enhance the dry signal and quell the wet signal. The maximum mix setting is ideal for the surf music vibe.
The second knob on the Mosky Spring Reverb pedal is the “Dwell” knob. Adjusting this knob controls the bit reduction rate. In other words, it decides the reverb time or how long the reverb stays after the note is played. Turning the knob to the extreme right will emulate a long spring tank, so you get the longer reverb time.
- Sound Characteristics
You can achieve great variations in reverb just by playing around with the couple of knob controls that are on offer. The pedal can deliver thick spring sounds as well as a wide-sounding ambient feel. Playing around with the mix controls will set you up for some surf tones if that’s the flavor you like.
The Spring Reverb Pedal from Mosky is extremely affordable and delivers some nice variations of the reverb effect. You can keep things subtle or dive into some wide and lush ambient sounds depending on the kind of music you play and your preference. In addition, the pedal size is very compact, so you won’t have to move things around on your pedal board to adjust it.
Mosky keeps things economical by cutting a few corners. Unfortunately, the pedal’s packaging is not too safe or appealing. You don’t get any user manual, and the pedal is found placed in a small bubble wrap baggie. In addition, the build quality is not great, which you might expect from such a cheaply priced device.
11. J. Rockett Audio Designs BOING
The J. Rockett Audio Designs BOING is by far the simplest-looking pedal on the list.
If confusing stacked knobs, multiple controls, and too many flip switches are not your cup of tea, the more direct and no-nonsense Boing reverb pedal from J. Rockett Audio Design could be right up your alley. A reverb pedal could not get simpler than this. The Boing pedal is battery-powered and can also be used with a 9V power supply.
The reverb pedal belongs to the company’s “Tour Series” pedals and is designed so that the sound remains pleasing and subtle even when connected to overdriven amplifiers. You can also try pairing this reverb unit with the space echo pedal by J.RAD to get a taste of some trippy and spacey sounds.
- Key Features:
The J. Rockett Audio Designs BOING pedal measures 4” x 2.3” x 1.25”. Being so compact, the device has just one foot switch for power or bypassing the unit. The mono input and output ports are placed at the top of the unit, where you’ll also find the power jack. This placement of ports saves space on your pedal board.
- Master Control
The only control on the Boing reverb pedal is the giant reverb knob placed in the center. The knob can be used to adjust the intensity of the reverb. Moving the control to the right gives a more profound reverb effect while moving counterclockwise reduces it. The knob is big enough and can be rotated with your foot, too, if you’re in a live situation and want to cut back on it when adding gain, for instance.
- Sound Characteristics
The Boing reverb pedal offers a brighter sound that shines through in a mix and compensates for the absence of a volume knob. At higher levels, the sound gets more touch sensitive and gives way to percussive artifacts like in an amp. The pedal has a set reverb length. In addition, adding gain to the effects chain boosts the reverb, enhancing its effect.
Things cannot get simpler than this. A single knob control and one foot switch are all you must get used to on the J. Rockett Audio Designs BOING reverb pedal. If you’re looking for an accurate representation of the classic deluxe reverb in the Fender amps of the 60s, you’re in luck. The Boing pedal has you covered.
Simple is nice, but this pedal may be too simple for some. So, looking for a tone knob for boosting/cutting some frequencies or perhaps needing more from your pedal, you search for the different reverb modes. Sorry, you’re out of luck. The single knob is all you get. Also, make sure you plug in the power supply before you connect the input/output cables; otherwise, you’ll have a tough time accessing it.
12. Boss RE-2 Space Echo Delay and Reverb Effects Pedal
When Boss delivers an effects pedal/processor, you know it will be worth checking out.
The company has been around since the early 1970s and is renowned for its out-of-the-box thinking and innovative approach to musical equipment and accessories. The Japanese manufacturer specializes in guitar pedals, effects processors, loop stations, pedal boards, and guitar amps like the infamous Boss Katana.
The BOSS RE-2 is a state-of-the-art delay and reverb pedal with multifunctional controls and unique tonal capabilities. Another example of the company’s innovation is the fact that it offers a “Tone Pedia” section on the pedal’s web page which helps interact with different parameters surrounding the RE-2 so you can hear exactly how it sounds in different situations.
Like all Boss pedals, the RE-2 measures 2.37” x 2.87” x 5.12”. It has a power jack on the back; however, the related power supply is not included. The pedal has 2 input jacks on the right side, where one is marked mono for connecting to a mono instrument. Both jacks should be used in case a stereo effects processing unit is to be connected to the device. Similarly, the RE-2 has 2 outputs: one is labeled mono for connecting to an amp, while both can be used simultaneously to connect to different speaker systems. Finally, the pedal has a unique “CLT/EXP” or control/expression jack. Here you can connect an additional foot switch to control different aspects of the echo, like tap tempo to suit the tempo of a song or to decide the twist ratio, which changes the oscillations of the echo effect. The second application of this jack is that an expression pedal can be connected here to manipulate the selected effect settings continuously and dynamically as per user preference.
- Pedal Switch
Finally, the pedal switch can be used for multiple purposes. Firstly, pressing the switch activates or bypasses the unit. Secondly, you can also achieve both variations controlled by the CLT/EXP port, i.e., tap and twist. Finally, both these features can be activated by long pressing the switch while powering the unit on and the mode knob set at 11.
You’ll find three concentric knobs on the unit that are designed to adjust different parameters. The first of these is the “Echo/Reverb” knob. The knob controls the volume of the echo or reverb. The inner knob corresponds to the echo effect, while the outer ring changes the reverb volume. Turning the Echo knob to the farthest extreme will silence the echo effect, and now you’ll only hear the current reverb settings.
The second concentric knob controls the “Intensity/Tone” control. Here the inner knob adjusts the intensity of the echo effect. For an oscillation effect, the knob can be turned completely clockwise. If you were worried that the Boss RE-2 lacks an equalizer of sorts, think again. The outer “Tone” ring control gives you access to some EQ parameters. If you wish to boost the highs and dull down the lows, the clockwise setting of the tone knob will help you achieve that. Moving the knob to the anticlockwise direction does the opposite, boosting the lower end while subduing the top end.
- Repeat Rate/Wow & Flutter
The final 2-in-1 knob adjusts the “Repeat Rate/Wow& Flutter” controls. The self-explanatory repeat rate adjusts the gap between the echo repetitions. Turning the knob to the far right reduces this gap. Sometimes tape slipping or resistance in the mechanism may cause wavering in the tape’s speed. The wow & flutter control adjusts this wavering. Moving the knob clockwise intensifies this wavering effect.
The idea of different modes was originally introduced in the RE-201 and later the RE-20 unit that replaced its predecessor. The “mode” knob has 11 different settings based on the combination of different heads and reverb/echo effects. For instance, mode 1 selects the first playback head. The second and third modes correspond to the other two play heads, which have twice and thrice the delay time, respectively. The fourth mode combines heads two and three, while the fifth setting puts together the first play head and the current reverb setting. The remaining modes are all different combinations of these four variations. The eleventh and final mode selects all 4 variations, i.e., head 1, head 2, head 3, and reverb.
It is safe to say that no other pedal has this many features packed in such a small unit. The Boss RE-2 has three multipurpose concentric knobs cleverly engineered to perform different functions without taking up much interface real estate. In addition, the cleverly designed mode combinations will give you a plethora of options to experiment with that can be easily scrolled through the control knob.
If you’re looking for a simple layout with easy button controls, the pedal might take some getting used to. Also, the reverb effect requires some tinkering to get just right. Finally, while the mode feature is likable, there is no way to tell which mode offers what combination other than judging by ear or memorizing the instructions on the manual.
Doepfer A-199 Spring Reverb Module VE
The Doepfer A-199 Spring Reverb Module VE is the closest you’ll get to an actual spring reverb effect.
The A-199 uses a tank with 3 springs attached inside to deliver spring reverberation in the true sense of the term. All 3 springs have different characteristics, which add to the density of the sound. The tank is connected to the user module via RCA cables.
Being a module-style spring reverb processor, the interface and overall look of the unit are quite different from the single and double-foot switch pedals on the list. Additionally, the module needs to be installed in a Euro-rack setup like the A-100, which is the ideal size to accommodate such a device.
The Doepfer A-199 spring module has all the controls and inputs/outputs laid out on the same interface. The unit has 4 different ports. The “Audio In” port is where you feed an input signal for reverberation. The “External Feedback In” port is combined with the “Feedback” control knob for some interesting results. The two output ports on the module include the “Reverb Out” and “Mix Out.” The feedback in and reverb out ports are used in combination with each other, while the mix out allows a mixed signal output for any external device.
- Level & Mix Controls
The Doepfer A-199 has a vertical strip of knob controls to adjust different parameters. The level knob is used to attenuate or enhance the input signal. The mix control goes hand in hand with the mix output and adjusts how the dry and wet signals mix. When moved to the left, you hear more of the dry signal, and moving the control to the right delivers more reverb compared to the original signal.
- Feedback & Emphasis Controls
Feedback is a unique feature unheard of when it comes to conventional pedal-type reverb units. This is where you can feed the reverberated signal created by the module back into the unit through the feedback in the port. As you would imagine, this has some fascinating applications. The “Feedback” knob controls the intensity of the feedback, which can be increased by rotating the knob to the right. The “Emphasis” knob is used as a master EQ control. The sound of spring tanks can be dark by default. The emphasis adjustment adds brightness to the sound when the knob is moved to the right.
If you’re tired of working with digital representations of spring reverbs and want hands-on experience with the actual thing, the Doepfer A-199 should be your next purchase. The unit is affordable, and the stock spring tank can be replaced with other versions to meet the user’s needs.
The Doepfer A-199’s spring tank is susceptible to electrical interference, so you may want to experiment a bit to get the placement just right. Be sure to keep the tank away from power supplies and digital modules to avoid unwanted noise and hum. The emphasis knob brightens the overall sound but also adds some noise. So you need to find the correct balance there.
Ask a guitar player, and he’ll tell you, “You can never have too many pedals!” That said, you can also never have a pedal board without a decent reverb pedal. You’ve seen what spring reverb pedals from different brands have to offer.
From the complex ones with multiple modes and settings to the significantly simple ones that barely have enough controls to get the job done, we’ve summarized them all for you today. So, you’re all set to raid your nearest music outlet and sniff out the one you like. Hope you make the right choice.
Sultan Zafar is a guitar player from Islamabad, Pakistan. He has been playing music with various mainstream musicians for over 20 years. He is a song writer and music producer. These days he spends his time exploring different music genres and collaborating with fellow musicians on various projects. Read more..