Recording - May 2015 - 45
The only thing I had to be constantly aware of was
internally clipping the box with the hot output signal
from the synths. It was often a delicate balancing act,
but the lush results were well worth it. If you are a
synth player I would recommend using a mixer with
effects sends and returns for greater flexibility and control.
In the studio
Lastly I injected the BigSky into my DAW world
thanks to the hardware sends and returns in Cubase
Pro 8 (review forthcoming), and this is where the
BigSky really came alive. As mentioned before, this
box easily rivaled many of my favorite reverb plugins.
One reason is a matter of fast, simple intuitive tweaking and realtime control. Here the controls and parameter choices, while not necessarily as deep as those in
many plug-ins or rackmount processors, are still well chosen. In each case you have the most-used bread and butter stuff as well as one or two well-thought-out additions
for each reverb, like decaying vowel sounds on the
Choral setting, or the 1970s' algorithmically-inspired
Cloud reverb. I will note that in most cases you get a
wide range of sonic change from tiny knob movements;
while this can be frustrating at first, once you learn to subtly tweak the controls, it's possible to quickly find and
finesse the perfect space for any given track.
The other reason this box rivals many other reverbs is
its sound. Considering how widely variable and controllable the BigSky can be, I was amazed how easily
and naturally it sat in the mix. Even extreme and odd
reverbs could be tucked nicely into a mix and instantly
sound professional, vs. many overly-effected reverbs and plug-ins that can
occasionally come across as "Baby's first day playing with effects."
Conclusions
Sound aside, it is a joy to tweak and edit reverb sounds simply and in
real time on the BigSky. In that instance it almost harks back to the days of
having a Lexicon LARC controller on the console. The only real downside
of having this reverb in your lap, to tweak spaces from the mix position, is
that you have four or more cables dragging across the top of your mixer.
That's not a very fair complaint (I can't very well ask a guitar pedal to not be
a guitar pedal!), but it didn't stop me from begging Ethan Tufts of Strymon to offer
this unit in a rackmount format. Still, I'm not holding my breath if it doesn't happen. The clutter of cables is a small price to pay for reverb this good!
Price: $479
More from: Strymon, www.strymon.net
http://www.strymon.net
http://www.adkmic.com
http://www.adkmic.com
Recording - May 2015
Table of Contents for the Digital Edition of Recording - May 2015
Contents
Recording - May 2015 - Cover1
Recording - May 2015 - Cover2
Recording - May 2015 - 1
Recording - May 2015 - 2
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Recording - May 2015 - 4
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Recording - May 2015 - Contents
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Recording - May 2015 - Cover3
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