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Tutorials – Reverb SPRING-636 | ARTURIA


Hello everyone it’s Jacob from Arturia
again good to have you back. In this video we’ll do an overview of our own
and so far the only virtual recreation of the famous Grampian 636
Spring reverb cult: Rev SPRING-636 Let’s get into it. First Spring reverb wasn’t really developed to serve its modern purpose.
When Bell Labs made their first one, it was supposed to emulate the sound of the delayed phone calls caused by the long-distance telephone cables. Later on,
one of the most impressive Spring reverb was released, it was called Grampian 636 and it was used in many famous studios such as Sound City in LA or
Thump Studio in New York. Pete Townshend from The Who explored Grampians
distortion utilities thanks to its crispy preamps, While King Tubby invented
the legendary dub and remixing culture with the Grampian as a central piece of
his studio. As with our previous effects, Rev SPRING-636 comes with a beautiful GUI
that provides a nice studio feel thanks to its vintage look. The drop-down menu
allows us to save, import or export our presets as well as resize the window of
the unit. We can also search through the various presets list either by entering
the browser, unfolding the presets list or by using the left and right arrows. The power switch allows to bypass the plug-in at any given time. Next to it we have two preamp inputs: Mic and the Aux 1MΩ one. These are based on the unique technology involving germanium transistors and come with their own
flavor. You can easily hear the difference in
their nature, the Mic one provides a harsher and more raw sound
while the aux one being a bit more delicate. Decay parameter sets the
length of the reverberated signal while width knob changes the stereo image of
the wet signal from mono to full stereo. Lastly there is a blend parameter that
sets the ratio between the dry and wet signals and a small output level knob
which can be linked to the input gain knob simply by activating the little
switch next to it. As we always try to make our instruments and effect special SRING-636 comes with the Arturia advanced panel that provides a couple of handy and creative controls. Let’s open it up now it starts with the
pre-delay which sets the delay time between the dry and wet signal up to 250
milliseconds. Next to it there is a pre-filter section
with nine different modes, And the frequency and resonance knobs which
allow you to shape your wet signal by cutting off the various parts of the
frequency spectrum. The middle part provides eight different spring tanks to
choose from to ensure a wide variety in the character and the color of the
spring. Let’s stop here for a second and examine a few of those to listen how different they sound. The Gibbs original is the tank that emulates the original
size and amount of springs of the Grampian. While the Gibbs alternative is its modified version with changed size and amount of springs. In comparison to those if you listen to the Accu vintage one we notice how much darker the
reverberation get. It is worth knowing that all of those three were found on
various versions of the original hardware Grampian unit. The Synthi and Space Echo ones are taken from our V Collection instruments. While Accu 4, 8 and 9 are the careful
emulations of the original tanks from the famous spring tank manufacturer with
respectively 4, 8 & 9 Springs And the final feature brings a post equalizer
with high and low shelf cut-offs with the gain range from – 24 to + 24 Db. To show you how great this effect is we have prepared a DAW session with a dub
inspired track that contains a few creative uses of the SPRING-636. Let’s listen to it now! This particular session contains 14
musical tracks and three return tracks with two instances of SPRING, one echo EQ
and dynamic tube to add a bit of warmness and compression. The A and C
returns containing the SPRING-636 instances are used all over the
session in a way that resembles the old-school dub mixing. Instead of the
hand movements that would occur on the hardware mixer there are various
automation lines drawn in a particular moments of the session which we will
discover during this video. Before this let’s do a quick A/B check and see how the song sounds with and without the return effects on. As you can hear they give a lot of heart and breathe to all the instruments. The first two tracks to examine are the piano and rhythmic guitar. The return used on the piano track is not static, the drawn automation lane applies the amount of the SPRING-636 and the dynamic tube differently depending on the moment. Thanks to this some notes
will be accented more and others less which translates to each chord sounding a bit different. On top of that there is a little trick here done on a SPRING-636
on the return A. If we look closely there is an EQ band pass frequency
automation drawn to achieve a nice sweeping effect of different frequencies
of the wet signal. Thanks to this the wet signal of the
reverb we’ll make those dry instruments sound different on every step this is
another way to make the sound move and eliminate the static aspect. Now again
let’s listen to those two tracks in dry & wet versions. Well as you can hear the use of the
SPRING-636 makes a big difference. Every classic dub track involve heavy
manipulation of the drums so let’s check how it works in this session with the
snare sound as the example. First off let’s do A/B comparison of the dry and
wet signal. To see what is happening let’s open the
636 instances. As previously with the piano and guitar, return A instance provides a long mono reverb signal with the 24 Db pre-filter
bandpass and automation of the post EQ frequency band pass setting. This allows
us to get the sweeping effect on the snare drum lane. As we can hear the pre-filter is the
crucial element here, without it being activated we would not be able to
achieve that special sweeping of the EQ. Return C instance on the other hand
plays a different role, in contrast to the return A, its aim is not to provide a
manipulation of the filter setting but to give a big sounding and delayed
reverberations let’s listen again. The reverb play a different role here,
therefore it requires a different set of settings. In this one we’ve decided to
set the decay and stereo settings to the maximum to get big and wide sound. In order to enhance the wet signal we’ve also wanted to set the pre delay to the
max and this way we’ve accented the wet signal by separating it a bit from the
dry one. A cool technique that will make your
percussion sounds even bigger. Last trick is to get rid of the muddiness of the
wet signal by applying the high pass filter and cutting everything below 200
Hertz. We can easily hear the difference with and without the filter working. You can also notice the various returns C amount automations drawn on the snare
lane to provide a different sound every second step. At the end let’s listen to the snare
track with and without all the effects again. As you can see these basic dub techniques have the potential to make your tracks breathe and provide a necessary sense of depth, space and wide range of dynamics. That’s it for this video! We are pretty sure that the Rev SPRING-636 will be a great addition to your existing setup. No matter what genre of music you produce
we hope that this tutorial will spark some ideas on how to use it creatively
in your productions. Make sure to ask us anything in the comments section and thanks for watching, see you guys soon!

Reader Comments

  1. three chorus you'll actually use: Boss CE-1, Boss CE-2, Roland Dimension D. three phasers you'll actually use: Phase 90/100, Small Stone, Mu-Tron BiPhase, three flangers Electric Mistress, A/DA flanger, MXR 117R flanger. C'mon Arturia.

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