Average Reviews:
(More customer reviews)Item is surprisingly small and compact. Easily fits into my gear bag.
Sounds great, as long as you keep the levels down. The effect is really noticeable at low leverls, and if you turn it up, it can feedback with some seriously reverbrated sounds. Some of the effects don't seem that useful, but most are good for different applications, for instance, one sounds great for vocals, but sounds too spacious for guitar, and vice versa. Chorus sounds very nice, its a more subtle effect. Rotary speaker sounds okay, but not up to par with dedicated units. Flanger is fun, and sounds great, but doesn't seem very useful.
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Alesis NanoVerb 18-Bit Digital Effects ProcessorEnjoy lush hall, plate and room reverbs, rich true stereo chorus, rotary speaker emulation and useful multi-effects with the 16 preset effects algorithms packed into the Alesis NanoVerb digital effects processor. The NanoVerb's 18-bit digital converters ensure sonic quality for use with any effects application--from guitar rigs to studio recording. The front panel adjust knob allows you to tweak NanoVerb's great-sounding programs until they're just right for your music, while the Input/Output levels and Mix controls ensure proper effect levels for a wide variety of applications.
Effects Overview
Concert Hall (3 Programs) This is a simulation of a large concert hall. Halls tend to be large rooms with lots of reflective surfaces, where sounds can swim around, changing timbre over time. This is a classic reverb that sounds good on just about anything. Try it on vocals, drums, acoustic, electric, or orchestral instruments.
Hall 1: A large bright hall program--works well for almost anything, try it on drums, guitars or vocals.
Hall 2: A warmer hall program--especially adds depth and character to acoustic guitars and pianos with it's decay set long.
Hall 3: A medium hall with 12ms of predelay before the reverb starts. It sounds great on big rock snares, but try it on vocals and electric guitar, too.
Real Room (3 Programs) This algorithm gives you the sound of a medium size studio room. This algorithm uses a lot of processing power for a rich sound and smooth decay. It has a punchier, bigger sound than a hall reverb, which makes it good for rock and dance music. The attack is also more reflective. It sounds good on drums, keyboards and guitars.
Room 1: A hardwood studio room with a lot of early reflection slap for big drum sounds; also works well for acoustic instruments, especially with the decay turned up.
Room 2: Perfect for adding a little ambiance to a dry track. Try it on antiseptic synth sounds or on dry, unplugged mixes with the decay set short.
Room 3: Ideal for acoustic guitars and classical instruments, this program emulates a warmer studio room.
Plate Reverb (3 Programs) This is a simulation of a classic echo plate, a 4' by 8' suspended sheet of metal with transducers at either end used to produce reverb. Popular in the 1970's, it is still prized for its transparent sound, particularly on vocals and guitars. It works well for a lush lead vocal, piano, or guitar, especially when looking for a classic rock and roll sound.
Plate 1: A classic bright vocal plate for pristine lead and background vocals.
Plate 2: A warmer variation of the previous program, great for adding sustain on acoustic guitar and strings.
Plate 3: A more realistic simulation of a vintage tube plate reverb. It has very little bottom end, which makes it great for snappy snares and skinny guitars.
Nonlinear (1 Program) In the mid '80s, a certain British producer/engineer (who shall remain anonymous) discovered a clever way of creating a huge drum sound. He would place the drum set in a large, reverberant room, mic the room and chop off the end of the reverb tail with a noise gate. When this sound caught on, digital reverbs began to be released with a "Nonlinear" program, which simulated this effect. In the end their simulation became more widely used than the effect it was trying to emulate, and the non linear reverb earned it's place in effects history.
Nonlinear: A classic example of the mid-80's "Nonlin" gate program, most commonly used on snares and toms, but can also spice up brass stabs and percussion.
Reverb Parameter Adjust -- Decay The reverb decay determines how long the reverb will sound before it dies away. Turning up the reverb decay will have the effect of increasing the room's size. Generally, classical, jazz, and ballad styles will use longer decay times than uptempo rock or dance music.
Pitch Based Effects (5 Programs) Pitch based effects alter the pitch and delay of a signal in various ways to produce "layered" timbres that are more complex than the original signal. Some of these effects are achieved by splitting the signal into at least two parts, effecting the pitch of one of the parts, then mixing them back together. This eventual mixing is essential since the overall sound of the effect is achieved by the difference between the dry, uneffected signal and the effects signal.
Chorus: Achieved by splitting the signal into four parts with a dry signal and a separate detuning section for both left and right channels. The detuning is further effected by being modulated by an LFO (low frequency oscillator), which causes the detuning to vary. The NanoVerb's chorus has individual LFOs controlling the left and right sides, set at different rates. This effect, called true stereo chorus, often has a wider stereo image than regular stereo chorus effects.
Flange: First used in the 1960s, "flanging" was achieved by the use of two tape recorders that would record and play back the same program in synchronization. By slowing down one tape machine, and then letting it catch up with the other, different phase cancellations would occur at different frequencies.
Rotary: The Rotary effect emulates a rotating speaker. This effect was extremely popular during the 1960s and was achieved by mechanically rotating the speakers to produce complex timbral changes. The lezlie speaker system is most often used with tone-wheel organs, but is occasionally used for guitar amplification as well. When changing the speed between fast and slow, the effect will slowly ramp to the new speed rather than change abruptly, just as the original would do.
Chorus/Room 1: A layered true stereo chorus and large room reverb. It works great on guitars, synths and electric pianos.
Chorus/Room 2: Adds a delay to the chorus/room sound for a different flavor. It works well for slow, funky guitars or big ballad solos.
Delay (1 Program) Delay is a discrete echo repeat, unlike the rapid wash of repeats that create reverb effects. It is useful for adding depth to a track or performance if reverb is adding too much coloration to the sound.
Delay: This program provides a delay of up to 1270 ms. The delay time can be adjusted in 10 millisecond increments. This is a useful utility program which can add space to vocals or instruments without "muddying up" a mix.
Specifications
Presets (Factory/User): 16/0
Digital Effects (reverb, delay, chorus, etc.): Rvrb; chrs; dly; flng; rtry
Simultaneous Effects: 3
Programmable Wet/Dry/Mix: Yes
Compare/Bypass: N/Y
Maximum Delay Time: 1,300 ms
Discrete Programming Channels: 1
ADC/DAC Overload Warning: Clip light
Inputs: (2) 1/4-inch
Outputs: (2) 1/4-inch
Frequency Response: ±1dB from 20Hz to 20 kHz
Dynamic Range: >90dB "A" wtg., 20 Hz-22kHz
Distortion:
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