The Blue Sky Reverberator
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Download Example 1
3/4 Low Damp, 3/4 High Damp, Norm Mode, Plate Type
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Download Example 2
No Low Damp, Half High Damp, Shimmer Mode, Room Type
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| Clips recorded with PRS McCarty DC245 20th Anniversary into a Matchless Avalon 35 combo.
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The Blue Sky Reverberator is a gem—a toneshaping
masterpiece. Like the Orbit, the Blue
Sky has Bypass and Favorite footswitches.
Knobs include Decay (decay time), Mix (dry/
wet balance), Pre-Delay (delay time before
reverb), Low Damp (cuts the reverb’s low
end), and High Damp (dampens high frequencies).
Three of the most commonly used
reverb types, plate, room, and spring, can be
selected from the three-way Type switch. The
Mode switch has three positions: normal processes
an untouched rendition of the selected
reverb type, mod adds a slight modulation
(chorus) to the reverb effect, and shimmer
tacks a note an octave up to the wet signal,
and that note slowly rises in volume. When
shimmer is selected with either the spring or
room type, a harmonized fifth is added to the
octave for even more texture. For guitarists
fond of soundscapes and huge, ethereal passages,
the Blue Sky has both two inputs and
two outputs for true stereo operation.
Using a Nick Huber Orca into a Quidley 22
head and Quidley 2x12, I gave the spring
reverb sound a run with Mode set to normal,
Pre-Delay at minimum (so I could hear the
reverb immediately after striking the strings),
and all other knobs set at noon. I was
pleased to hear that there were no latency
issues, and even more pleased to hear how
great the spring algorithm sounded. More
importantly, I was astounded at how accurately
the Reverberator interpreted my pick
attack. Picking softly summoned a softer,
subtler reverb than when I picked harder.
The squeaking and squealing noises that
a good spring reverb gives off when you
dig in were also there, and they had a very
authentic feel. I could hear the emulated
springs shake and quiver louder and more
violently the harder I picked, especially when
palm muting.
After flipping to the room type, I turned Pre-Delay to 10 o’clock and dumped some of
the low end using the Low Damp knob. This was especially useful when the Orca’s
humbuckers pumped out some overbearing
bass frequencies. What was really impressive
about the room setting was its range. Using
the Low Damp and High Damp controls in
conjunction with the Decay and Pre-Delay
knobs made it easy as pie to design a convincing
emulated room, whether it was a carpeted
basement or a concert hall.
The plate type is the darkest-sounding of the
three, and it’s perfect for Ennio Morricone-style
single-note riffs. When you use plate
with the mod Mode setting, you get a much
eerier mood. It would have been nice I
could have altered the modulation, though.
There are no controls for modulation speed
or depth, so you’re pretty much stuck with
one voicing. It’s a great, usable sound, but I
would have liked to be able to slow the rate
down a little.
Shimmer mode, on the other hand, leaves
nothing to be desired. The upper octave
crept in ever so slightly when I was playing
either chords or single notes, and using it
with the spring setting yielded my favorite
sounds of all. Playing with the Mix and
High Damp controls maxed out was ghostly
soundscape heaven—just the thing for guitarists
from the Robert Fripp school. The
effect is almost like a volume swell. When
used with the room reverb, it’s very reminiscent
of the long-discontinued (but very coveted)
Boss PS-3 Pitch Shifter in mode 7. In
fact, I like the Blue Sky’s shimmer mode even
because you can dial in just the right amount
of highs and lows.
Buy if...
you’re looking for an extraordinary,
compact reverb.
Skip if...
your reverb needs are simple or your
amp’s built-in reverb gets the job done.
Rating...
