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Just like the title says. What do you use?

Thanks!

Disaster Transport Jr. + RRR
da bess

this one. it can do anything. swiss army knife kinda deal

I like my big box RRR best on guitar and bass.

Achtane wrote:Disaster Transport Jr. + RRR
da bess

Da bess.

I also like the TC Hall of Fame, the tone control is cool.

I'm seconding the Hall of Fame! I also like the 1776 Rub A Dub Reverb

As far as delay goes, I like the Madbean CaveDweller, and I just got a Supa Puss that also sounds pretty awesome on bass as well

Another vote for the Disaster Transport. I would like to try an I.E. Nimbus for deep verb though.

The Nimbus is amazing for cavernous and shimmery verb, but I still like the RRR more for its variety. It took me a while to warm up to it 'cause some of the modes sounded bright to me, but now I feel that the brightness is needed to make it individually audible instead of being a blanket of BWWRRNNRMMMMMMMM. Of course I've got nothing against the huge verb, but as far as me playing guitars or bass through verb goes it's usually annoying if the sound is totally buried. I like playing through dirt into verb into more dirt, so if the verb is smashing everything I may as well just play random shit all over the fretboard.
which is what I usually end up doing anyway

With synths and stuff it's different, though.

Agreed, the definition is what makes the RRR super cool. If you're looking for just masses of washy indistinct ambience, the HoF and nimbus are real nice.

Oh also I tried my mate's EBS Dynaverb and that was pretty nice sounding, though doesn't have a huge number of options. And the dirge delay I have is tasty as well.

Achtane wrote:Disaster Transport Jr. + RRR
da bess

Same! though my DT is the regular.

I use a Hardwire RV-7 with bass. Love them spring and reverse verbs.

Achtane wrote:The Nimbus is amazing for cavernous and shimmery verb, but I still like the RRR more for its variety. It took me a while to warm up to it 'cause some of the modes sounded bright to me, but now I feel that the brightness is needed to make it individually audible instead of being a blanket of BWWRRNNRMMMMMMMM. Of course I've got nothing against the huge verb, but as far as me playing guitars or bass through verb goes it's usually annoying if the sound is totally buried. I like playing through dirt into verb into more dirt, so if the verb is smashing everything I may as well just play random shit all over the fretboard.
which is what I usually end up doing anyway

With synths and stuff it's different, though.

Well said. I was unsure initially cuz I thought it was bright but it's needed.

The RRR's variety is tops too along with the super simple but very effective control set. The mix and level work perfectly together and let's it stand out pretty easily after some tweaking, even set way deep. Only thing I long for is decay on a pot instead of a toggle.

I use a Context for the HUGE and cavernous verb. Similar to an RRR but with some different/unique modes and more overall control. I prefer the basic voicing of the RRR tho.

For spring, I really love the Spring Chicken LTD reissue. Beautiful spring reverb with exp control and oscillation capabilities. Yes please!

I had a bass player that used the Behringer Vintage Time Machine and an EHX Cathedral. The Cathedral was the most impressive for a song that had really ambient verses.

BOSS RE-20 for everything ever.

PumpkinPieces wrote:I had a bass player that used the Behringer Vintage Time Machine and an EHX Cathedral. The Cathedral was the most impressive for a song that had really ambient verses.

That's interesting, I found the DMM very unimpressive on bass when I had one. Cathedral would probably be really cool though.