by Walrus Audio
$299.00 $349.00You'll earn 0 Prymaxe Rewards points!
The R1 is an extremely powerful and versatile multi-function reverb that can quickly go from small intimate room sounds to massive washes of experimental euphoria with six customized, studio-quality programs - Spring, Hall, Plate, BFR, RFRCT (Refract), and Air. Every program can be tuned and tweaked and then saved to one of nine on-board presets. The R1 boasts a volume swell effect that can be applied to any program, sustain and latching momentary features, stereo in and out, MIDI control, and up to nine on-board presets (128 via MIDI). Players of all styles and genres will be able to find eternal inspiration with the R1.
Spring - The Spring program emulates an excited spring reverb commonly found in tube amps with loads of transducing drip. Easily go from subtle to full-on surf rock. Experiment with the decay knob to get more than average amounts of reverb not found in traditional amp spring reverb tanks.
X knob adds a warm grit to the reverb decay.
Hall - The Hall program provides the acoustics of large live sound spaces like concert halls to arenas. Longer decays and higher X knob settings result in a massive wash of ambiance. Shorter decay and lower X settings allow for a more intimate reverb expression.
X knob controls the room's size; smaller at lower settings to larger room sizes as you increase X.
Plate – The Plate program emulates a smooth analog plate reverb with nice even diffusion inspired by famous plates like the EMT 140.
X knob adds in gentle warm grit to the front end of the program simulating driving a hot signal into the plate.
BFR - BFR is a no holds, big, f____, reverb. This is more than a giant arena reverb. It's a hall-esque reverb with rich and lush decay in a vast cavern filled with choirs of angels.
X knob controls the amount of diffusion applied to the multi-tap delays used to form the program. At lower X settings, you'll hear these delays bouncing around for a more textured sound. As you increase the X knob, the delays are diffused, creating a smooth texture, and lifting your riffs and chords into the atmosphere. See ya.
RFRCT (Refract) - The RFRCT program allows for lovely, charming, and glitch-like textures hovering over a largely diffused reverb. The Rate controls on RFRCT change how often the glitch effects occur while Depth controls the overall volume of the glitch effect.
X knob is used to shape the tone of the glitch effect. At zero, the glitch effect will have a lo-fi, almost tape-like sound to them. Increasing the X knob brightens these elements with more pristine details.
Air - The Air program offers a larger diffused reverb with a subtle shimmer but has a more “crisp” clarity to its decay. Explore slow-building sounds that don’t get in the way of your playing. Air complements keys and synths as well.
X knob controls the amount of the wind and shimmer elements in the Air program. At zero the effect will be off. Turning clockwise will increase the volume of the air effect.
The R1 can save up to nine on-board presets, and up to 128 are accessible via MIDI. On-board presets are accessible with the bank switch. Cycle between presets in each bank by pressing Bypass and tap at the same time. You will see the right LED change from Red to Green to Blue. Any adjustments made in a preset will change the tap LED to purple, indicating you have edited the preset. The R1 employs a powerful reverb engine that allows for the true preset spill over. When you switch presets, the new preset loads, and the previous preset is allowed to decay naturally.
Use the Tune knob to shape the amount of low and high frequencies in the reverb signal. The X position is unique to program-specific features listed above.
Each program can be fully customized to your taste and playing style with the Tweak knob.
Press and hold the SUS/LATCH (Sustain/Latch) switch to momentarily sustain the current reverb and continue to play over it through the same reverb algorithm. No dry signal here! Clicking the SUS/LATCH switch lets you latch the present reverb decay while you play over it.
The R1 comes in an anodized matte black finish with red, orange, cream, gold, green, purple and blue ink.
The enclosure’s exact size with knobs is 4.9” x 2.52” x 2.64”. Power requirements are 9VDC (300mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals. Daisy chain power supplies are not recommended. Power supply not included.
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Last Updated: October 04, 2022
If you are not 100% satisfied with your purchase, you can return it within 45 days of the original purchase date for a store credit refund, or within 14 days of the original purchase date for a refund to the original purchase method (PayPal, credit card, etc). If an item is not received by us within the 45-day window, the package will be refused. All new items returned must be in BRAND NEW condition with zero signs of wear or use and must be returned in the original packaging with ALL materials (free/bundled items -- must be unused/unopened, warranty cards, plastic, pouches, manuals etc.).
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Great as always
I bought this reverb because I was hunting for dripping Spring reverb + Pad/ambeint stuff, that does not occupy half of my pedalboard.
I found this unit very tweakable:
- You can create a pad reverb from ANY type of reverb with swell ****.
- There is an EQ that helps a lot with clarity of signal.
- Supereasy presets.
- Interesting Refract verb with interruptions.
The only minus is that a software like Source Audio Neuro would be great, or I just missed it somehow.
Swell reverb is excellent. Overall reverb are nice. But the latency makes the pedal really only useful in a direct from guitar to pedal to amp set up and NOT useful for a wet/dry setup. Gonna have to let this one go.
All the people who think this can compete with the big boys are crazy. It can’t even get a ticket to the league Source Audio & Strymon are in, & I say that as someone who’s been using the D1 since it came out. I wanted so much to love the R1, but unless you keep mix & decay low the algorithms just sound fake &/or have a lot of annoying artifacts in them. It’s not big at all, not even the BFR algorithm. In order to get any sort of size out of the reverbs at all the stereo spread has to be at max, and once you get mix &/or decay past 3 o’clock the reverbs start sounding horrible... you just can’t get a big sound out of any of them.