So when I started seeing emulations of spring reverbs on digital effects I got a little chuckle and moved right on to the plate or hall setting.

Now to answer your question there is no way to give a general response so I'll just tell you a couple of different effect units I use and the reverbs I use in them because a hall reverb in one unit might sound like a spring reverb in another.

When I use my transfex pro I like the plate and hall reverb with the HF damping completely off so it's good and bright I like a 2 to 3 ms decay with 10 to 20 ms predelay. Sometimes I like to run my reverb in series with chorus in front of it to get a chorused sounding reverb. I like to add a little delay and like I said some chorus once in a while.

When I use my quadraverb I like the halls and plates with some low freq rolled up a little and high freqs bumped a little as well. I like the pre delay set around 10 ms and the length around 50 which equals about 2 seconds on the quadraverb. I also like the reverb algorythm only when you start adding other effects the quality of the reverb goes down very quickly. Although they do have several effect chains/algorythms the reverb suffers when you use them.

When I use my Genesis 3 I like the room reverb with about 10ms of predelay and 1.5 to 2 secdonds of reverb. The reverb on the Genesis is pretty good quality but the best reverb or all 3 is the quadraverb even though it's antiquated.

So as you can see I generally like a pretty average length for my reverbs and I like them to shimmer and be very transparent and silky.

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www.phelpscountychoppers.com/steelguitar

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The old two spring reverb that Fender used for years (and may still be using) had a delay of 29 ms on one spring and 31 ms on the other spring

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The choppy, grainy reverb that we so often hear from guitar amp spring units is due to the two-spring, short and medium decay tanks commonly used by Fender, Peavey, et al. A good three-spring, long decay unit from Accutronics is a silky-smooth creature that will give any digital unit a run for its money when used as a PSG verb.

[This message was edited by Dave Grafe on 11 December 2005 at 06:50 PM.]

I like a fairly thin bottom, and some roll off of the highs, but not so much the mids clash with content.

When Laurens Hammond introduced the first Hammond Organ in 1935, most people were only familiar with the traditional pipe organs the had heard at churches and theaters. So, when they purchased a Hammond for their homes, they expected the same room filling sound they had come to know and love. Of course, in their thickly carpeted living rooms with low ceilings and drapery covered windows, they didn’t get it.
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If you have the time it's a very interesting article on reverb.

Bob

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The only good spring reverb is a real spring reverb, the kind you can bump your guitar against.

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Dark delay repeats too so you don't hear much of the pick attack in the repeats, but you do get the notes echoing to give the size and dimension you're after. Typically I try to make the third echo either barely detectable or not at all detectable.

Even then, I'm wondering what it really matters, when you spend all this time on eq settings, reverb settings, etc. and the sound guy on the mixer out front has got God-only-knows-what kind of eq and reverb on you anyway...

[This message was edited by Jim Phelps on 13 December 2005 at 02:12 PM.]