Reverb’s impact on popular music may outshine that of any other effect. Most recordings have some form of natural or artificial reverb to fill out space or add texture, and that’s because reverb can affect a song’s mood almost as much as the notes themselves.
Effect lovers such as pedal builder Jack Deville understand this. His new SuperMoon, an ambient modulated reverb from a subdivision of Jack Deville Electronics called Mr. Black, mines this potent effect. The pedal’s digital circuit is designed for vast-sounding, lo-fi reverberation with precise control over decay rates. A pitch-shift control lends this atmospheric effect an eccentric twist.
Fly Me to the Moon
Dialing in cosmic reverb tones is simple, thanks to the SuperMoon’s three straightforward controls. One sets the reverb mix level. (Maximum wetness is 1:1.) Another regulates decay time. A third knob, labeled “sway,” applies wobbling pitch modulation to the effect. The reverb's maximum setting of 300 milliseconds is ideal for cavernous-sounding passages, while a heaping 30 seconds of decay time lets you create Fripp-like soundscapes and howling volume swells.
The SuperMoon features true-bypass switching. It can be powered by either a 9V battery or a Boss-style power supply. (Since it’s a power-hungry digital effect, you'll probably want to go the latter route.) It’s hand-built in Portland, Oregon.
Ratings
Pros:
Easy to dial in sounds. Small footprint. Exciting pitch-shifting tones.
Cons:
Fixed modulation rate. Somewhat limited applicability.
Tones:
Playability/Ease of Use:
Build/Design:
Value:
Street:
$179
Mr. Black SuperMoon Reverb
mrblackpedals.com
Into the Void
You won’t mistake the SuperMoon’s spacious sounds for a dynamic-sounding spring reverb—its lo-fi voicing is more akin to that of a dusty record than a warm, bubbly vintage spring. But its precise control, distinctive texture, and mammoth-sized spread make it a stellar tool for ambient passages, endlessly reverberating chords, and swaying, pitch-shifted echoes.
I auditioned the SuperMoon using a Fender Classic Player Strat and a Mesa/Boogie Dual Rectifier, with the pedal connected via the amp’s effect loop. I set the pedal’s reverb and decay knobs halfway up and turned off the sway control to evaluate the pure reverb sound. Playing the sparse, clean-toned intro to the Cure’s “If Only Tonight I Could Sleep,” I immediately noticed the reverb’s granular quality and super-smooth decay. Turning down the decay and pushing the reverb mix yielded a cool, futuristic-bathtub quality, with the effect bursting loudly and quickly dying off. Patching in an Ernie Ball volume pedal and maxing the reverb and decay knobs, I generate dazzling ambience that bloomed and faded with each swell of the treadle.
The real fun began when I turned up the sway knob to add pitch shifting. My Strat’s neck pickup provided perfect clarity and presence for the reverb’s crawling modulation. Reverb can be eerie to begin with, but the SuperMoon’s creepiness was off the charts. Sadly, the pitch-shift rate is fixed, so you can’t get fast, alien ray-gun spurts and other weird astral effects.
The Verdict
If you’ve longed for a simple, compact reverb that excels at nearly limitless ambience, it’s worth considering the Mr. Black SuperMoon. It’s great for hall- and cathedral-type reverb, and it’s endlessly fun. With its even, somewhat static response, the SuperMoon won’t replace for your favorite spring reverb and all its subtle nuances—but to be fair, that’s not the pedal’s goal. It’s designed for would-be celestial travelers seeking tones wider than the skies above—and on those terms, it’s a cosmic knockout.
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Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
