Anasounds Element Analog Spring Reverb

Since 2017, at Anasounds we took the challenge to offer you a reverb with the tone of the legendary Fender Twin Reverb!
An excellent way to find back this particular sound without acquiring such beast.

To do this, we worked on several technologies, including dedicated digital processors,
FV-1, Belton BTDR… we tried everything!

Then we finally made this observation. There are very few solutions of 100% analog reverb!

We were surprised to see that this exceptional combination was so underused.

The few competitors that started to do it, did not go deep into the concept, large boxes and fairly rudimentary settings.

So with the aim of improving this situation, we’ve continued our research in order to propose a new approach of the spring reverb.

A twin reverb in a pedal and much more…

This is how the Element Spring Reverb was born!

The Element is a pedal that takes back the very essence of the analogue reverb, which is obtained by physically stimulating springs thanks to the guitar signal. Simply. No artificials. No calculations.
From beautiful mechanics coupled to analog signal processing.

This is still a classic pedal, same size as all of our other pedals. You scratch it (or not) on the pedalboard. It always has an input jack, an output jack and a 9V power jack. Nothing new so far!

What’s more? There’s a mini jack to plug on the back of the pedal. Then, it will be connected to the box full of springs (called a tank) via RCA connectors. This tank is mandatory because it is the one
that allows to generate an analog effect of reverb.

Compared from other spring reverb that use huge boxes, the tank is detached from the pedal, and connected by a cable. Then the tank can be hidden under the pedalboard or kept on top of the board, this is up to you!

Self-drilling screws are supplied with the tank to help you attach the tank to the desired location on the pedalboard.

Before introducing you the various settings, we need to make a little reminder!

The Dry signal is the signal that enters into the pedal without any modifications.
The Wet signal is the one that has been processed by the effect, hence the output, in a classic pedal.
These terms are often used when it comes to parallel sound processing.

Because, we want to keep the dry signal and then, add a dose of wet signal to it, according to our taste.

MIX, a pot that set the dry/wet ratio of the signal. Primordial for dosing the amount of reverb.
At min, there is no more reverb (100% dry, 0% wet) and at max,
we only have reverb (0% dry, 100% wet).

OUT, a pot that set volume of the wet branch only. At min, there is no more reverb and at max,
the reverb gains about +9dB. +18dB in spring saturation mode.

LOW, a pot playing on the 2 band active EQ, precisely on low frequency side.
At min, we remove completely the basses, at max, we gain +6dB.
This is very useful when you want to make big layers or just a tiny reverb on the back of the mix.

HIGH, is the same setting but for the trebles.

Spring saturation, a switch to put springs in saturation mode! When switched up, the spring is intact, the signal passes normally through. When switched down, the spring saturates and the output level increases significantly, you get a kind of fuzz/overdrive that comes from the spring! Pretty unique, right?

www.music-blvd.com $249
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