Caroline Meteore, the dirt knob is so fun and has a lot of potential stacking with stuff. I loved the dirt set pretty high with a big muff in front of it. I've considered the muff after for shoegaze stuff.
I'll throw the Old Blood Dark Star into the ring. I've written whole pieces using just that pedal. With an expression pedal, it can do some wild stuff. The blend knob is fun when using the bit crusher with more bit crushers or pitch/harmonic pedals is fun for days.
I run an Afterneath into a Transmisser and it has got to be the most forlorn journey into dead space that pedals can conjure. It's the sound of being adrift in a derelict ship with no hope of ever seeing home again.
Good thread! Im in a battle with myself about these sort of things. Im just a bedroom player, stopped playing in bands a few years ago. So i downsized to a HX Stomp for both composing and recording. Just like OP im mostly in to... lets say post-rock (theres a lot of sub genres from that these days).
i also understand, and hear alot of that in tgp forums, that its just better to use plugins for recording no matter if one is a hobbyist or engineer.
I have a hard time cooping with that because where i come from genre wize... its all about performing the effects and i believe most of the bands i listen to print/record that way also, at least all the character stuff and tactile depending stuff. Also there is something said about running a bunch of stuff into clean tube amps and recording that. Not that easy imho with di track and plugins. I guess there are no rules..
But when i ask for advice in tgp, about using pedals for recording, i often get talked into just geting plugins because they are awesome (especially in the recording forum) and geting pedals is a waste of money if your just recording.
But still, ime... i just cant let go of the tactile and composing part, even if im just a bedroom player. Thats why i hold the HX stomp very hard and wont let it go for any plugin or in the box solution.
as for pedals, i struggled alot between either just use plugins for playing/recording or getting a few speciality pedals. I recently got an offer on used SA Collider, so its on the way home. I could very much see myself ending the madness with that one. Just having it there on the Metro 16 with the HX Stomp would let me do what i want and need.
and against all the ”sayings” and tgp standard advices i will probably record using it. After all...should i find any problems in a track, the HX Stomp lets me reamp whatever i throw into its fx loop.
excuse my rambling, it doesnt help OP i should go start my own thread about this...
There are about a dozen great options for this now, many of them mentioned here already.
The one that I love that hasn’t been mentioned so far is the SA Ventris. It does the basic stuff like spring and hall incredibly, but it also does the huge atmospheric and just downright weird and interesting stuff amazingly well. And then, you can run two of them at the same time cascaded or parallel and create just about any texture you can imagine. As if all that wasn’t enough, it’s analog dry through, has a deep editor on your phone or computer, and has routing and storage flexibility better than any other pedal I’ve ever had.
You can use it in a really simple way straight from the pedal and find inspiration all over the place for a very long time. Or you can take it even further with the editor which I often do to get something just perfectly the way I want it.
It’s my desert island reverb. I love a lot of the others mentioned here too but the Ventris is really special.
For character reverb, I love my Prelude by Quiet Theory. It’s actually a dual reverb and delay pedal. Out of production and kinda pricey, though. But I lucked into a great deal on mine and have really enjoyed it.
I'll second a Meris Mercury7! A bit different because it's basically a plate and a hall, but you can add various pitch vectors (and control their level against the overall effect level), modulation and vibrato, plus independent high and low EQ knobs, auto-swell and freeze functions. So yeah, tons of character you can dial in.
Ok so in addition to the Afterneath and Transmisser, I also have Walrus Slo. So that's me pretty much sorted for wacky reverb. Still organising my pedal board though and waiting on a few cables to arrive before i can test them.
Does anybody use any of these in their amp's fx loop? I hear the Slo doesn't perform so well there - what about the other two? I had it in mind to have one in the loop, and the other two before my overdrives/Muffs (I like the sound of reverb being engulfed by overdriven and fuzzy tones).
tried quite some verbs ... my amps both have spring reverb, which sounds great. Still, in recent years, I’ve mostly been using verb from my pedal board for convenience; have been running a Line 6 M5 + Strymon Timeline combo since 2011 (combined with various analog pedals), and while I do like the M5 Particle Verb algo as a special effect, and Chamber and Spring Reverb algos are decent, I found that I mostly preferred faux reverb from the Timeline (Pattern Mode on pattern #15). As long as you don’t play staccato notes, then that pattern delay will clatter.
Currently in the process of building a new board ... I bought a MXR M300, really liked the “Epic” and “Plate” modes, but found I want MIDI control, to be able to set different decay times and mix percentages for different sounds. Decided to upgrade from the M5 to a HX Stomp. HX Stomp reverbs don’t get that much love, probably because their default settings are very overloaded (mix very high, decay very long, too much modulation). Still, to me, the 5 new (compared to M5/M9/M13) HX reverb algos sound great. Made a little no-talking demo featuring only those 5 algos (plus a noise gate behind the wet part to get gated reverb on one part) recently ... check it out
I'm surprised the Strymon Night Sky has not been mentioned yet (at least in my quick skim through).
While I have owned/demoed many of the others referenced, certainly not all, the Strymon Night Sky is by far the most comprehensive ambient reverb machine with concerns to what one can potentially dial in; this, many thanks to all of the control features provided to the user. This isn't to knock the other pedals as there are some great options to be had. The key difference is that, compared to the pre-sculpted algorithms the others offer, usually accompanied by the standard set of controls, the Night Sky gives one almost free range to craft/build their own algorithm by providing a nice array of building blocks to play with. From shimmers to modulations, gain/drive, to EQ & Filters, it very much a building kit for unique reverbs and, typical to Strymon, the controls are pretty straight forward.
Indeed, this may be more than what many are looking for BUT, to the original poster's search/perspective, I got tired (and it got expensive) bouncing between flavors (read: the Wet sounds like the Wet, the Slo sounds like the Slo, the Blackhole is still the Blackhole). And to each, there would eventually come that time when I would want to do something just a bit different or tweak it in such a way but was left without the ability/controls to do so ....
Again -- many great pedals so much of this is about taste and what one is looking for. I offer the Strymon Night Sky as an option that covers a great deal of ground as long as one takes the time to craft their verb.
To note: Specific to psychedelic rock, I love creating sound pads and such for some Gilmourish/Floyd solos -- the customizable 'Hold' function the Night Sky provides is key.