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A true spring reverb is an almost magical device. Deceptiviely simple in concept but capable of producing extremely rich and hauntingly beautiful sounds. Not just a retro novelty; spring reverbs are still used extensively whether it is nailing a classic dub reggae sound, adding some shimmer to a synth riff or creating some space on a vocal track in a big studio. This is a reverb that rewards real-time tweaking: crank the feedback, sweep the filter and play with the ghostly feedback drones that ensue. Better yet, try animating them with CV and inserting other modules into the feedback path.
This Reverb Puts A Spring In Your Step
There are many excellent digital reverbs available these days, but there is still nothing quite like the timeless and magical character of a true spring reverb.
Version two of the Springray provides a number of changes and improvements to the original design. The shelving EQs have been replaced with a parametric EQ with frequency, Q, and gain controls. The CV inputs for feedback and mix balance have been replaced with inputs to control the filter frequency and gain. Lastly, the feedback and limiter circuits have been redesigned, and the drive quality has been improved.
- Selector switch to choose between three different connected tanks (one on the front and two on the back).
- Parametric EQ with controls for frequency, Q, and gain.
- Feedback path with virtual tube circuitry.
- Redesigned LIMITER circuit in feedback path to prevent high gain feedback from clipping the output.
- Improved input DRIVE with high gain (can overdrive the tank inputs).
- External processors can be inserted into the feedback path via the SEND/RETURN normalled inputs.
- Three different sizes of Accutronic tanks are available.
We at Intellijel have a genuine love for true analog devices, and it has always been important for us to explore as many of these fundamental analog building blocks of synthesis as possible.
In the development of this module we were astounded by how much there is to explore. Each tank has a totally different set of characteristics, and there were many unexpected surprises when feeding it a wide variety of audio sources. One of the most interesting results was how a slow attack saw waveform from a Dixie almost sounds like a realistic cello!