Hello, and welcome back to another Dojo. Previously I mentioned that there are hundreds of reverb plugins (convolution, algorithmic, plate, and spring) out there, but the vast majority of them are either direct emulations of 6 classic reverbs—or derive a huge amount of inspiration from them, to say the least. I highlighted the EMT 140, the Lexicon 224, and the EMT 250 last month, and I’ll finish up this month by paying homage to the remaining classic trio. I’ll also give you some strategic advice on how to take better advantage of these, and even the reverbs that you already have as well. Tighten your belts—the dojo is now open.
The Bigger Picture
The Lexicon 480L Digital Effects System, introduced in 1986, easily stands as one of the most important reverbs in the history of studio recording. Conceived as Lexicon’s next step beyond the 224 (see last month’s Dojo) it employed 18-bit A/D and D/A converters, giving it a wet path dynamic range approaching 98 dB and either 44.1 kHz or 48 kHz sample rates.
Internally, it was essentially two powerful stereo processors, labeled “Machine A” and “Machine B.” These could be run independently, producing two separate stereo effects, or cascaded so that one fed into the other.
The sound of the 480L is where its legend was truly forged. The reverb tails were smoother and more natural than anything that had come before, while still carrying Lexicon’s trademark musicality. One of the most beloved algorithms was “Random Hall,” which added subtle modulation to the reverb tail, preventing it from sounding static and giving it a sense of living, breathing space. The 480L dominated mainstream pop, rock, film scores, and TV from the mid-’80s through the 2000s. While earlier reverbs like the EMT 250 or Lexicon 224 had charm and warmth, the 480L delivered polish and versatility. It was the professional standard against which all others were judged.
A studio spring?
The AKG BX20 spring reverb is another gem from the analog days. Unlike the small, twangy springs found in guitar amps, the BX20 was designed for studio use, housed in a (roughly) 4' x 2' x 2' wooden cabinet. Its dual spring system produced a reverb that was deliciously dark, smooth, and surprisingly versatile. It became beloved for its organic, almost smoky quality—perfect on guitars, keys, and even vocals if you wanted a touch of atmosphere without the sheen of a plate or the brightness of a Lexicon.
The Underdog from Burnley
By 1981, EMT in Germany had already unveiled the EMT 250, and Lexicon in the U.S. was about to shake the industry with the 224. But back in the U.K., a pair of aerospace engineers in Burnley, Lancashire, created a 3U rackable reverb that came to define the sound of 1980s pop and rock—the AMS RMX16 (admittedly, my favorite). Compact, rugged, and intuitive, with a sound that was bold rather than naturalistic, the RMX16 was the first microprocessor-controlled, full-bandwidth digital reverb with nine core algorithms—halls, plates, rooms, ambiences—but it was the ‘NonLin2’ (nonlinear reverb) preset that turned the machine into legend. The gated snare in Phil Collins’ “In the Air Tonight”? The RMX16. Peter Gabriel’s “Sledgehammer”? The RMX16. Prince, Dire Straits, Hall & Oates, Bruce Springsteen—all embraced its punchy, present character.
The RMX16 influence has endured. AMS—now under AMS Neve—has since reissued it as a 500-series module and collaborated on official plugins with Universal Audio.
What’s in it for me? Remember that a plate doesn’t sound like a spring, a spring doesn’t sound like a Lexicon, and an AMS doesn’t sound like an EMT 250. If you grab “any old reverb” from your DAW, you’re missing the point. These machines became prized not just for what they added, but for how they shaped the emotional character of music. Understanding the differences will leave you better equipped to make deliberate choices. Want your vocal to shimmer with vintage romance? Try a plate or spring reverb. Need drums to slam? That’s RMX16 territory. Looking for a reverb that’s lush yet unobtrusive? The Lexicon 480L is still king.
In the end, knowing your reverbs is like knowing your guitars. Each one has a story, a color, a legacy. These classics remind us that technology and artistry are forever intertwined. You’re not just “adding reverb”—you’re tapping into a lineage of sound that has shaped records for generations. And that, more than anything, is why these machines remain revered.
This time host John Bohlinger sits down. plugs in, and slides besides the musical Canadian chamaeleon who talks about embracing your influences, playing bold (and loud) onstage for maximize risk taking, and shaping the might Revv D20 and D25 amps. Plus, he notes the guitar star that gave him memorable compliment after Joey bombed a solo.
Last night something happened to me—I had a dream within a dream! Inception style! Here’s how it went down: I was dreaming that I had to unload a bunch of guitars from my car, and I was worried because I thought it was too hot outside and the guitars would get damaged. But when I went outside, there was snow everywhere! I wandered through the piles of snow and found my car buried. I remember looking down and I was walking on clear ice, and I could see little fish swimming around under there. I finally got into my car and I was freezing, but I still checked out the guitars to see if everything is cool. Suddenly, the ice started to melt extremely fast, and before long, I was floating in water! Right then, I started thinking about this one particular guitar because I thought it would make a good paddle.
Then, in the dream, I “awoke” and realized I was back in my bedroom, and it was all just a dream. The kicker is that I was still dreaming, because that “paddle” guitar was suddenly in my hands—then I woke up for real! How about that misadventure?
The next day (in real life), I went down to the basement to find this weird old bugger that, in my dream, would’ve made a good paddle. Apparently, this pancake-batter-shaped Steelphon is one of only a few known to exist, and I had forgotten that I still had it! Hailing from the mid ’60s, this Italian-made electric is a true oddity. Steelphon, which is an odd name in and of itself, was a company based in Turin, Italy, that was already making guitar-related items, primarily amps, but of course jumped into electric guitars during the boom years. The company seemed to contract out guitar production, because this one has all the characteristics of a Crucianelli-made guitar: the robust truss rod, the mini humbuckers, and the amazing bridge (which is like a steel brick) that would put any Gibson bridge to shame.
The amazing mini humbuckers are hot as hell and sound phenomenal—probably my all-time favorite pickups. The electronics feature a preset tone selector, pickup selector knob, and volume and tone knobbies. Playability is obviously weird because the body is so darn wide, and a little heavy. Plus, the neck is slightly thin so the whole experience is a little wonky. But again, the guitar sounds so good that it could be worth it for those looking for the “odd” factor.
“This pancake-batter-shaped Steelphon is one of only a few known to exist, and I had forgotten that I still had it!”
Back in the day, I coveted this guitar for a long time. There was a fellow in the Netherlands who collected and sold the strangest guitars, and this was on his site forever. Eventually, I ended up buying this and a few others from him, but when I got this guitar, it was a basket case. Playability was awful, the electronics were a mess, and the fret dots seemed to have been repaired by a kindergartener. The Steelphon also suffered from the dreaded Italian finish-shrinkage, which caused the guitar to have a lot of finish checking and splitting, kind of like a candy-coated finish that got cracked.
All in all, we were able to sort everything out, and now the guitar plays rather well. A hallmark of many guitars from the ’60s is that the electronics were overly complicated. Designers back in the day were trying to get a lot of preset tonal options, but the overall sound was always getting muddied. Once you dive in under the pickguard, it’s always best to wire point-to-point to get the best sounding guitar—especially with these pickups, which are just so aggressive. They sound dreamy!
Keeley Electronics has launched the Oaxa Phaser, an advanced-yet-user-friendly pedal featuring two independent phasers, each controlled by a dedicated footswitch.
The Oaxa Phaser offers a three-position toggle for selecting 10-stage, 4-stage, anduni-vibe phasing, controlled with three easy-to-grab knobs. The dual phasers in Oaxa can be run in series or parallel, with true stereo processing. Built upon Keeley’s acclaimed Core series platform featuring large vintage-style knobs and pilot light, it’s perfect for creating swirling leads, atmospheric textures, or groovy and funky rhythms.
The Oaxa pedal’s Alt features offer even more sonic flexibility: in Alt mode you can access a one-knob compressor and an additional low-end depth control, and its Alt setting for the three-way toggle switch allows you to select 6-stage, 4-stage or 2-stage phasing.
Oaxa features include:
Two independent phase circuits, each with its own footswitch
Versatile Phasing Options: A three-position toggle switch allows you to select between lush 10-stage, crisp 4-stage, or vintage uni-vibe modes
Alt setting for the three-way toggle allows you to select 6-stage, 4-stage or 2-stage phasing
Simple and intuitive three-knob operation with Rate (controls the speed of the effect), Depth (controls the width of the phaser sweep) and Feedback (The amount of output added back to the input of the phaser, often referred to as “color”)
True Stereo Power: Stereo inputs and outputs – you can run dual phasers in series or parallel, perfect for pairing with stereo reverb and delay in your effects loop
Enhanced Alt Features: A one-knob compressor and low-end depth control add warmth and punch
Selectable true bypass or buffered bypass modes
Uses external power 9-18V - 130mA with standard center negative jack
Built in the USA
Keeley’s Oaxa Phaser carries a street price of $199. For more information visit rkfx.com.
Building upon a legacy of sonic innovation, Mr. Black proudly unveils the Tri-Chorale – a lush, three-voice chorus inspired by the legendary Southern California designs of the mid-1980s.
At its core, the Tri-Chorale features three independent delay lines modulating in perfect harmony to create a rich, organic shimmer that feels alive under your fingers. Sharing a common LFO but offset in time and phase, these delay triplets breathe unprecedented depth and dimension into the classic chorus sound—elevating it to new, breathtaking territory. Sometimes, the sum is greater than its parts, and the Tri-Chorale proves it.
Key features:
Three independent modulated delay lines
Full, lossless wet/dry mix control
Wide range of LFO speeds
Pedalboard friendly footprint
True-Bypass
Powered by “Industry Standard” 9VDC
The Tri-Chorale carries a MAP of $199.95 and is handmade, one-at-a-time in Portland, Oregon U.S.A.
Then, in the dream, I “awoke” and realized I was back in my bedroom, and it was all just a dream. The kicker is that I was still dreaming, because that “paddle” guitar was suddenly in my hands—then I woke up for real! How about that misadventure?
