![]() ![]() Thanks very much again for these settings…I’ll see if I can get them going and get a wet-dry thing going. I’m thinking I could run my H9 between the Bray Line-Out box and the Super Reverb to use it as a wet amp. I also have a David Bray Line-Out box which lets me run a line level signal to another amp. I have a ’65 Fender Super Reverb that I’m trying to figure out how to use for a wet signal and my main sound comes from a 2×12 Marshall with a PPIMV Mod 5 modification done by the late Mark “Rockstah” Abrahamian. I’m a totally ignorant newbie when it comes to pedals in general much less the Eventide products and wet-dry or wet-dry-wet setups. I have an H9 Core so I’ll probably have to buy some more algos from the Space in order to try these. Thanks very much for those settings…I’ll definitely try them. BTW: the Sculpt algorithm is quite capable of recreating some of these classic rock guitar tones. You’ll still have to pan it to the opposite side, adjust the MIX levels, achieve a “brown sound”, etc. ![]() Just remember that the major parameters are all highly interactive with each other. The Hall algorithm uses a different paradigm, but it can be tweaked for a similar result. I like to play around with the early & late reflections in the Room algorithm, and take advantage of the programmed ‘realism’. Select the one that features the adjustments that you’re after. Most H9 / Space reverbs have some form of control over EQ control, so you’re not limited to any particular algo. So a bright response, non-parallel walls, lots of early reflections … I’d go with a larger Room, or small Hall, as a base algorithm. I recall reading that Sunset Sound’s Studio 1 live chamber was key. The Plate algorithm might be a good starting point, but it’s a little too metallic / artificial for my tastes (in this application).
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