Grinding out impressive DSP power via an 800 MHz tri-core ARM processor with 32-bit floating-point processing, the BigSky MX introduces seven brand-new reverb algorithms, allows users to load any compatible convolution reverb (or impulse response) as well as to use two reverbs simultaneously—in series, parallel, and split—plus it delivers several other mind-bending features. Given this wealth of goodies, it’s impossible to test and discuss every sound and function, but what we heard is exciting.
Infinite Space
The updated MX will look very familiar to those who know the original BigSky. The form factor is nearly identical, though the MX is a bit larger. Its control interface is similar too, albeit rearranged into a single row of knobs that looks more balanced. Rotary controls include decay, pre-delay, tone, mod, parameter 1, parameter 2, and mix. A value knob enables effect-level manipulation on the larger, clearer OLED screen. It also allows you to select between the older or “classic” algorithms from the original BigSky and the seven new ones. Three footswitches allow for preset selection, bank up or down (two switches pressed together), and an infinite hold/sustain switch that’s always available. The rotary “type” knob in the upper-left corner spins between 12 basic reverb voices. As with most things Strymon, many of these controls are multi-function.
Also very Strymon-like are the top-mounted, 5-pin DIN MIDI I/O connections, which come in handy if you want to maximize the pedal’s potential in a MIDI-controlled rig. But you can access more than enough right from the pedal itself to satisfy the needs of most standard pedalboard-based setups. A USB-C port enables computer connection for MIDI control via that route, use of the Nixie 2 editing app, or firmware updates.
There are stereo jacks for both input and output, plus a multi-function 1/4" TRS/MIDI expression jack for use with a further range of external controllers. The standard center-negative power jack requires a DC supply offering at least 500 mA of current draw.
Sky’s the Limit
The BigSky MX was, initially, a bit mind-boggling on account of the seemingly endless possibilities. But it is utterly hypnotic and addictive once you settle in and work a little more intuitively. Suffice it to say, the core quality of the reverb sounds themselves are excellent, and the sheer variety is astounding. Beyond the standard emulations, I really dug several permutations of the cloud reverb, the chorale mode (which adds tenor and baritone harmonizing tones), and bloom mode (which generates deep synthesizer-style pads), and I could have gotten lost in any of these for hours if there wasn’t so much more to explore. Among the highlights: There is now an option to pan reverbs across the stereo field. The MX also uses audio design concepts borrowed from tape delays to create rhythmic pattern-based reverbs, which is an excellent compositional tool.
The Verdict
This latest evolution of the already impressive and super-capable BigSky is the kind of pedal that could cause you to disappear into your basement studio, never to return. The sounds are addictive and varied and can be configured in endless creative ways. The programmability and connectivity are also superb. Additionally, the new algorithms weren’t added at expense of the old BigSky algos. There’s no doubt that it will be flat-out too much horsepower for the guitarist that needs a few traditional sounds and, perhaps, a few more spacious options. And it would be interesting to know what percentage of the pedal’s customers end up being synth artists, engineers, or sound designers of one kind or another. If you’re the kind of guitar player that enjoys stretching the sound and capabilities of your instrument as far as they will go, the BlueSky MX will gladly ride along to the bounds of your imagination. It may test the bounds of your budget, too. But in many ways, the BigSky MX is as much a piece of outboard studio gear as a stompbox, and if you’re willing to invest the time, the BigSky MX has the goods to pay you back.
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