Now the modulation comes into its own, allowing you to add just as much background wobble as you need to give everything a sense of shoegazey 3D depth.Sample our review notes, audio notes, and quizzes all at once.Īnd get our exam strategy guides.Here's The Headline For The BoxTG9yZW0gaXBzdW0gZG9sb3Igc2l0IGFtZXQsIGNvbnNlY3RldHVyIGFkaXBpc2NpbmcgZWxpdC4gRG9uZWMgdmVsIG51bmMgbm9uIGxhY3VzIHZlbmVuYXRpcyBjb21tb2RvLg=We value your privacy and would never spam youundefinedGet Instant Access! In glorious stereo, the hall effect does sheer hugeness about as well as any other pedal of its type. And it makes even more sense once you plug in a second amp. The hall and plate effects have a similar kind of voicing, and there’s still not much air in the reverb even with the high EQ at maximum… but the R1 starts to make more sense once you abandon all thoughts of subtle ambiences and start pushing that decay knob into the spacey zone. It’s nice to be able to grunge things up with a dash of ‘X’, but we’d like a little more flexibility from the tone controls here. It’s springy alright, offering some good authentic judder, but the tonality of the effect is quite mid-focused, with less zingy freshness than we’ve come to expect from real spring tanks – and from other digital emulations. Our explorations begin with spring reverb, as it’s the first mode on the dial, and to be honest we’re a little disappointed. Two’s company: The Mako Series R1 truly comes alive in stereo In use Yep, it’s the same deal as the ‘infinite’ footswitch on the Strymon NightSky – let’s hope it’s every bit as bewitching. The second footswitch also needs some explanation: this takes a snapshot of the current reverb sound and sustains it magically until you tap it once more or, if you’ve kept your foot pressed down, lift it up again. On the left, you can change the rate and depth of modulation applied to the reverb and also the pre-delay time on the right, it’s low and high EQ plus an ‘X’ factor that’s specific to each reverb type. The other two knobs, marked ‘tweak’ and ‘tune’, are each partnered with a three-way toggle switch. The controls only become ‘live’ once you start twiddling them, which means their positions are not always telling you the truth if you’re a fan of fully manual knob-twiddling, that’s going to take some getting used to.Īnyway, what are those controls? Along the top we have decay time, ranging from nothing to practically forever ‘swell’ for killing the note attack and letting it fade in as slowly as you choose and mix, which will mute the dry signal completely when maxed out. You have nine slots available (plus another 119 via MIDI), accessed by selecting bank A, B or C from the central switch then pressing both footswitches to toggle through three options indicated by a red, green or blue LED. The key thing to note in terms of operation is that everything revolves around presets. This, in short, is the ethereal half of the pedal. We’ve mentioned three of them already the others are ‘BFR’ (two of those letters stand for ‘big’ and ‘reverb’ – let’s just leave it at that), ‘refract’ and ‘air’. Perhaps the most important knob is the one in the middle, for selecting your reverb algorithm. It has the same twin inputs and outputs on the sides, for mono or stereo operation, and the same layout of controls. In terms of design this could almost be a photographic negative of the D1, echoing its crisp and classy form but now clad in black to emphasise its mysterious depths (or just to look a bit moody). So we shouldn’t be surprised to see that three of the R1’s six modes are dedicated to the old-fashioned basics: spring, hall and plate reverb. READ MORE: Review: JAM Pedals Harmonious Monkīear in mind, though, that this is the follow-up to the D1 delay, our 2020 pedal of the year – a device that’s about doing everything, not just the outlandish stuff. And so, hot on the spangly heels of the EarthQuaker Devices Astral Destiny, comes this second instalment in Walrus Audio’s Mako Series of high-end digital effects: the R1 multi-mode stereo reverb. It’s hard to get anyone’s attention with a ‘normal’ reverb these days – in 2021, it seems, we’re all sonic space travellers intent on blowing our own minds with celestial sorcery.
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