#169529  by strumminsix
well shit.. i don't know what to say... apparently this forum and google photos don't play well together.

Click away, lol!!! https://photos.app.goo.gl/dStEQ5GQXHmAAjGz6

But your excitement will be minimum. This was designed to be minimalist. Focus on band and playing. Transition between electric and acoustic with the flip of a switch. Accomplishes all easily.
 #169530  by Jon S.
So your name is Nick. I like knowing that - it humanizes you. ;)

What's with settings marked under E but nothing correspondingly for A?!

Also, am I correct that you've placed your reverb before your preamp? If yes, what's your rationale for it (usually folks with effect loops on their reverb-less amps will put their time-based effects in the loop after the amp's tone circuitry)?

And finally, if I can sneak in one last question, I've not before encountered a Game Changer overdrive. Can you tell us a bit about that, too?
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 #169531  by wpmartin1979
Thanks for reposting! Despite your humility it’s actually quite exciting for me!! Lol

I think the Reverb and delay are actually in the FX loop and just placed physically before the preamp but the signal would come after. Probably easier to access the IR output on the side of the Shift Line.

E= electric
A = acoustic

I am also curious about the Gain Changer!
 #169532  by strumminsix
Proves I'm not a bot!! LOL!!

So, this rig goes straight to a splitter then mixers. One is my stage for IEM, second is FOH. No amp. Nothing. WYSIWYG.

E and A were supposed to be electric and acoustic. and realized that I had gotten lucky and simply toggling off the IR gave an amazing sounding acoustic.

Yes, running Rev and Del in the FX loop between the preamp and poweramp sim+IR. But, in truth, I know most run R+D in a loop but think most are nitpicky about it. For years folks used a fender reverb box into the input of an amp and sounded great. And all the classic music made with amps without loops can't even be counted. But this was a very simple feature to use and in this case I did hear a difference which I enjoyed more.

Barber Gain Changer. Probably the finest OD pedal a person can own. 15 years ago maybe found the LTD SR from him and it's on my big board, forever. And this is his smaller format pedal with the same LTD SR but a few more features, none of which I use LOL
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 #169537  by wpmartin1979
strumminsix wrote: Mon Feb 01, 2021 8:55 am Reading all these awesome reviews and one things strikes me: most everyone is thinking spring reverb.

I'd argue that much of the beautiful JG style reverb over the years came from Lexicon units... So why not look there?
2 manufacturers that come to mind are: Source Audio + Strymon

If you're looking for simpler The Polara does a great job of ballparking that. And surprisingly Keeley's Omni in plate mode does too.
So I caved and made an offer on an entry level Lexicon rack unit. Offered $130. The seller accepted so I’m now waiting for it to arrive. I couldn’t resist trying one for the price of a pedal. I will be comparing the available reverbs (17 in this thing) with my pedals ... expecting good things. I know this is not their high line PCM grade stuff, but from what I hear the verbs are pretty amazing.
The model I got is the Lexicon MX200

It’s also got lots of delays, chorus, detune, etc.

These threads are killing my wallet, but I’m loving every minute of it :shock: ... fun to try lots of stiff and only keep the winners! :P

I’ll keep you guys posted on the results of this one :-)
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 #169546  by Searing75
The Keeley Omni Reverb Pedal gets glowing reviews. I just ordered one from Sweetwater. Hall, Spring, and Plate.
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 #169598  by Jon S.
joethepainter wrote: Fri Feb 05, 2021 4:50 am Pete Thorn just put up a vid for the Chase Bliss reverb pedal...it’s pretty badass

Complex control set. Looks like its intended primarily as a studio tool (not that studio tools cannot also make fine live tools).
 #169632  by wpmartin1979
Review: FYD TRP > Lexicon MX300 > MosValve M962 > JBL K120

I know this thread is supposed to be about pedals, but Lexicon was mentioned by Nick and I decided to take the plunge. Let me first just say, “Thank You Nick!!!” Thank you so much for leading me down this path. There is no looking back now. I have seen the promised land. It is the same experience that I had once I plugged in my FYD TRP for the first time and heard the tone of a real Twin preamp. Everything else up to that moment suddenly became irrelevant. The journey was now clearly laid out in front of me. There was no looking back. There is no losing back now.

Well, the Lexicon is to reverb what the FYD is to tone. It is the promised land, the real deal, the cats meow, the muthafunkin shiiiit!! WOW! I never knew that reverb could sound like this. I never realized how much it could intertwine with and shape your tone. I never realized how much of Jerry’s tone was actually reverb, until now. There is absolutely no comparison between the reverbs that I am dialing in with the Lexicon and any reverb pedal I have ever tried in the past. No comparison whatsoever.

Let me just say that these Lexicon units are not for the lazy. They take time to understand and you MUST read the manual very closely in order to understand how they work and what they can do. If you put in the time to do so, you will never need another reverb pedal again, ever. Basically the Lexicon units are creative tools that give you a pallet of thick, luscious, sparkling verbs for you to fine tune, combine in different ways and tweak to your hearts content. You can run single verbs in stereo, multiple verbs in parallel or series or you can run two different verbs in mono (one on each channel). The tonal possibilities are endless and the quality of the reverbs are unlike anything I’ve ever heard.

There is just something about the quality of the reverbs coming out of this thing that blend so well with the guitar tone that they become part of it. Its like the verb climbs inside of the notes and bursts them open from the inside out. It is a whole different level of tone and tone shaping possibilities at your fingertips.

So far I have created three different reverbs that I find represent Jerry’s tone in different ways. The first one is a Spring reverb that I am running in stereo and that I tweaked to perfection to make it sparkle and shine with just the right combination of decay and boing. I named it JG Verb #1 - it is set to preset #1. There are 99 presets that you can create. The second one I made is a Large Plate reverb running in stereo that I tweaked by adjusting it to the perfect size and dialing in the perfect amount of Mid RT. It still sounds very much like Jerry, but as if you were listening to him play in a small club or hall, rather than a large venue. I call it JG Plate Verb #2. The third reverb I created is a Spring Verb running in parallel with a Studio Verb. I was able to make adjustments to both reverbs and run them side by side to create a balanced liveliness that sounds like Jerry on the studio albums from the 70s (i.e. Shakedown Street, Blues for Allah, Mars Hotel) … very cool. Amazing really.

As I’ve been jamming to each song that I am working on I am switching between verbs and keeping everything else the same. Each verb is so unique that it gives a whole different tone and feel to the music. It is incredible. It is inspiring to play because I can’t believe the quality of what I am hearing coming out of the speakers. NICE!

Let me finish by saying that I have’t even began to scratch the surface of what this thing can do. There are tons more reverbs on this thing and also tons of delays, choruses, phasers and tremolos that I have’t even looked at yet. I read in another post that Brad Sarno thought perhaps Jerry was mixing a bit of phaser into his lead guitar tone. With the Lexicon, something like that would be incredible easy to accomplish in a seamless fashion. For example, you could Cascade a reverb with a phaser and make adjustments to create a single effect. Then you could mix it in with the guitar signal for the perfect amount of wet/dry mix.

In addition, the two units that I have (yes I got two so I could compare and keep the one I like better, but I’m keeping both now), are entry level Lexicon units. The MX200 is the most intuitive for playing in live settings because it has external knobs and controls that you can tweak, more like a pedal. The MX300 is basically the same, but a little more advanced in that you can name the tracks, etc. All its controls are internal and you have to learn how to navigate the different menus and settings to dial everything in. The MX300 arrived first, so that is the one I have writing about in this review. I can’t imagine what the PCM units are capable of, but I know they are basically on almost every top 40 record from the last 30 years.

If you want to take your reverb to the event horizon and if you really want to know how powerful reverb can be as a tone shaping tool, don’t hesitate to give Lexicon a try. At $150-$250 (used) you are looking at the price of a boutique pedal, but you are basically getting 100 customizable pedals in one unit. They only take up 1U of rack space and are a mere 8 inches deep. Nuff said, WORD :)

https://lexiconpro.com/en/product_docum ... 0473v-cpdf

UPDATE: I’ve now had a chance to play with the MX200 for a day or so and find it very intuitive to use, in the sense that it is much more “pedal like” with external controls. You can still do pretty much all the same basic things as the 300, except name the stores FX (they are just a number on the 200, but the tones are the same. I was able to replicate my verbs from the 300 on the 200, but with the 300
I felt I had more of a sense of how my tweaks were affecting the sound because of the more detailed internal interface. I’d say for the price and quality the MX200 is great - I mean it’s a really cool unit.
Last edited by wpmartin1979 on Sun Feb 07, 2021 8:13 am, edited 3 times in total.
 #169638  by wpmartin1979
lbpesq wrote: Sat Feb 06, 2021 12:55 pm Will, do you not like the reverb in the FYD?

Bill, tgo
Bill, I do like it, but it doesn’t compare to the Lexicon verbs. It is very different and more organic sounding. It is much darker and springier (is that a word?). There is no comparison to the amount of detailed sparkle and shine that the Lexicon injects into the tone. The Lecicin is much brighter and sharper ... perhaps be cause it is digital... it sounds very much like Jerry who went full digital (midi) by the 90s). It’s kind of like if you’ve never experienced the difference you wouldn’t realize that it was so big. Now that I’ve used the Lexicon I don’t think that Jerry used the Spring Tank in his preamp. He may have of course at some point, but the Lexicon makes the guitar sparkle and shine bright without getting muddy or mushy at all.
You can fine tune it so delicately that you literally inject it inside the guitar tone. I really like the creative process of creating your own FX, you have total control.

Also, keep in mind that I was using the FYD because it’s the best preamp I have, but the Lexicon can be used with any preamp many of which don’t have reverb.
Last edited by wpmartin1979 on Sat Feb 06, 2021 1:49 pm, edited 1 time in total.
 #169639  by Jon S.
The FYD preamp's (and combo's - I own one of each) tube driven-reverb, like a true TR's, is gorgeous. No, it's not an authentic copy of a room, hall, or plate. It's not meant to be. For many of us, Fender-style, tube-driven reverb is, when all's said and done, an effect - and one of our favorites. One might certainly prefer a different reverb type for a given application (so do I, at times). That's obviously cool, too. 8)
 #169640  by Jon S.
Here's a brief sample someone (not me!) did of two of Line 6's reverb models. The models are also on my M13. I use them here and there. Nice for some U2 songs and for ambient-type stuff. Others like them for P&W. Nothing I'd see myself choosing for Dead. I'm merely providing a couple of examples to emphasize how many different reverb types we have access to in our playing!

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 #169692  by AaronW
My favorite Reverb pedal is the Strymon Flint. It does every Reverb sound that I can think of. For "budget" I really like the TC Electronics Hall of Fame, with their tone print software you can edit your reverb to death if you really want to. If I didn't have my Flint, I'd probably own 2 Hall of Fame's to have two settings at my feet.