I just listened to the first clip , it has a really pleasing tone ,
Something about the decay of a spring , it feels like a real acoustic space at lower levels especially
theres no hint of decimation like digital reverb tails ,
When you hit it clanks in a non linear way like you expect from a spring but thats as much about drive level ,
the quieter the recovery the less you need to drive it , so you can get cleaner performance if you dont need the spring splatter
combining the output of two or more tanks tends to smooth out some of the flutter echo of a single spring , so you get even better tails ,
Ive set up a few of my guitar picking buddies with twin tanks over the studio monitors panned, L<>R
EL84 based SE Amp drives the springs (via attenuator)also feeds a 10'' celestion in the middle of the stereo picture ,
Its a really absorbing sonic scape just for noodling around ,both for the player and the listeners , the gorgeous low level analog resolution , it seems infinite , you can have as much or as little output overdrive on the amp as you want and still not punch the shit out of the spring , its more like a plate .
I know theres been some discussion about the AKG spring reverbs again recently ,
I think the trick to the AKG system is the how the feedback is applied to damp the spring
I have experimented with the moving coil idea,
I wasnt able to wind a coil with as low mass and high enough impedence as the Austrians ,I think i used 36awg , wack loads of level off it with a pair of N/dym slugs , coil orientation within the magnetic gap was important
maybe a standard long tank spring with a tiny moving coil at the centre of one of the pairs of springs could be used to apply the force feedback .
Something about the decay of a spring , it feels like a real acoustic space at lower levels especially
theres no hint of decimation like digital reverb tails ,
When you hit it clanks in a non linear way like you expect from a spring but thats as much about drive level ,
the quieter the recovery the less you need to drive it , so you can get cleaner performance if you dont need the spring splatter
combining the output of two or more tanks tends to smooth out some of the flutter echo of a single spring , so you get even better tails ,
Ive set up a few of my guitar picking buddies with twin tanks over the studio monitors panned, L<>R
EL84 based SE Amp drives the springs (via attenuator)also feeds a 10'' celestion in the middle of the stereo picture ,
Its a really absorbing sonic scape just for noodling around ,both for the player and the listeners , the gorgeous low level analog resolution , it seems infinite , you can have as much or as little output overdrive on the amp as you want and still not punch the shit out of the spring , its more like a plate .
I know theres been some discussion about the AKG spring reverbs again recently ,
I think the trick to the AKG system is the how the feedback is applied to damp the spring
I have experimented with the moving coil idea,
I wasnt able to wind a coil with as low mass and high enough impedence as the Austrians ,I think i used 36awg , wack loads of level off it with a pair of N/dym slugs , coil orientation within the magnetic gap was important
maybe a standard long tank spring with a tiny moving coil at the centre of one of the pairs of springs could be used to apply the force feedback .
