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The con­trols include a mode selec­tor rotary switch, pots for Mix, Tone and Decay, and a mini tog­gle that gov­erns the pre-delay time — in other words, the length of time between strik­ing the note and hav­ing the reverb start. There are stereo inputs and stereo out­puts, you can select between true or buffered bypass, ana­logue dry-through so your orig­i­nal sound remains unaf­fected, and spill over so you can either cut your reverb off abruptly when you bypass the pedal or let it tail off naturally.

So let’s look at the dif­fer­ent sounds lurk­ing in here. Reverb I is a warm space and slow mod­u­la­tion with stretchy, elas­tic qual­i­ties. Reverb II is a long sus­tain­ing reverb mixed with a watery, organ-like vibrato. Reverb III is a clear, glassy reverb with an omi­nous low end throb. Reverb IV is a huge cathedral-type reverb with­out any bound­aries. Reverb V is a slow pitch-bending reverb with dou­bling effect. Reverb VI is a “syrupy” plate reverb with warm tails and sub­tle mod­u­la­tion. Reverb VII is a flanged reverb with clas­sic 80’s sweep that stays in tune. Reverb VIII is a deep, nat­ural hall reverb with max­i­mum allowed decay. Ethe­real 1 is pure reverb inter­act­ing with itself, bounc­ing around to cre­ate a per­ceived upper har­mony. And Ethe­real 2 pro­vides a pul­sat­ing drone behind the notes gen­er­at­ing an eerie wall of sound. There’s also a TonePrint set­ting so you can load in what­ever you like.


TC Elec­tronic and Pro­Gu­i­tarShop have done some­thing pretty amaz­ing here: they’ve con­jured up a suite of reverbs which sound moody, atmos­pheric and musi­cal, but with a hint of magic. In other words, it’d be really easy to take the pro­cess­ing power of this pedal and crank out a bunch of reverbs that come across like sound effects from one of the Star Wars pre­quels, but instead they’ve har­nessed that power for the forces of good. For instance, Reverb V’s pitch bends could have sounded syn­thetic, but instead they have an eerie beauty. And if you’re a fan of Devin Townsend’s approach to reverb, you’ll hear all sorts of great ambi­ent washes and swooshes in Ethe­real II. This is a pedal that works best when you’re using it with a clean sound because it enhances it and shows it in its best light — but then when you use it with over­driven tones you can cre­ate these oth­er­wise unat­tain­able sound scapes and sonic envi­ron­ments that take rock gui­tar into weird new dimen­sions, in the best pos­si­ble way. There isn’t a sin­gle sound here that you won’t find your­self lost in for hours.


If you’re after recre­ations of spe­cific types of echo, this isn’t the pedal for you. If you want to see where reverb can go when some very cre­ative and inspired minds really get to run wild with algo­rithms and para­me­ters and tex­tures, this is one of those rare ped­als that inspires you to cre­ate worlds of music you would oth­er­wise not have ven­tured into.