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The Boss RV-3 Delay Reverb

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As a follow up to two posts I wrote about the Reverb effect (see here and here), I thought that a demo of my good old Boss RV-3 was in order.

Boss RV-3 Digital Reverb / Delay - Photo Pia Jane Bijkerk

At some stage, you could spot the Boss RV-3 in the pedalboards of acts such as Mike Eizinger (Incubus) or Johnny Greenwood (Radiohead). Made between 1994 and 2002, the RV-3 is quite unique as it combines a digital delay unit and a digital reverb unit. I have included the detailed specs at the end of this post for more information on the different modes.

But before diving into the details, let’s hear it in action. I have recorded this video which shows my favorite settings followed by a demo of each of the 11 modes of the RV-3:

 

My thoughts on the RV-3

The Boss RV-3 is a product of the mid 90s. It doesn’t feature any analog delay or spring reverb simulations, this is a pure digital beast. Delays are crystal clear and reverbs are precise (some would say “metallic”).

That said, I find that its unique capability (for a compact pedal) to combine delays and reverb provides big “studio quality” guitar tones which can be reminiscent of Jeff Beck’s studio sound on his recent albums. It can also go into total spacious ambient territory and can be used with two amps for a stereo setup as it features one input and two outputs.

For all this, the RV-3 is quite underrated and is a great catch on the second hand market, watch out for one. The RV-5, which replaces the RV-3 in the Boss line up, features a spring reverb simulation on top of the digital kinds but does not have the delays of the RV-3. As such, I find hard to compare the two.

Detailed specs

The RV-3 has no less than 11 selectable modes. One knob selects the mode and the other 3 knobs have different functions depending on the chosen mode. In reverb mode, they affect the parameters of the Reverb: tone, time and level. In delay and delay+reverb mode, they affect the feedback (number of repetitions), delay time (time between the repetitions) and the effect level. Note that in delay+reverb mode, you cannot choose the amount of delay and reverb separately, the unique level knob will allow you to blend more or less delay and reverb, put together.

The modes are as follows:

4 Reverbs:

  • Plate reverb simulation: Hendrix and other late 60s acts were fond of plate reverbs to magnify their tones in the studio. This is quite a big sounding reverb
  • Hall: big digital reverb simulating the space of a rather large enclosed space
  • Room 2: a medium-short room reverb which can be used a bit like a spring reverb, knowing that the RV-3 has no spring reverb simulation
  • Room 1: a short reverb to add just that little bit of ambiance

4 Delay + Reverb modes:

  • Delay + Plate Reverb
  • Delay + Hall reverb
  • Delay + Room 2
  • Delay + Room 1

3 “pure” delay modes:

  • Short: 32ms – 125ms (great for slapback echo)
  • Medium: 125ms – 500ms
  • Long: 32ms – 1000ms

I have demonstrated all these modes in the video above, enjoy!

Tone tips

How Pickup Height Affects the Tone (Updated Feb 2012)

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Is the bridge pickup of your Telecaster too bright? Or do the two Humbuckers in your Gibson seem to have very different output volumes? These two common situations prompt a lot of G.A.S. stricken guitarists to purchase new pickups or modify their electronics.

But did you know that the distance between a pickup and the strings, also known as pickup height, can be setup easily on most guitars and can alleviate a lot of these problems?

As a general rule, when you move a pickup closer to the strings, you will get more output but also more high frequencies which can become ear piercing. At some extreme settings you might loose some sustain as the magnet(s) contained in your pickup(s) will “slow down” the vibrations of the string.

On the other hand, when you move a pickup further away from the strings, you will loose some of those ear piercing frequencies but get a lower output volume.

Sound Example

Here is an example featuring the bridge pickup of my 1978 Telecaster:

Bridge Pickup of a Telecaster - Left: High Pickup Height, Right: Lower Pickup Height

I have kept the exact same amp settings and have recorded similar clean licks with my Telecaster bridge pickup set very high:

Audio MP3

and then lower:

Audio MP3

Notice the difference in output volume and high end frequencies.

How to Change the Pickup Height on your Guitar

I will detail here how to change the height of the pickups on Telecasters, Stratocasters and Gibson style guitars. Note that it might be different for other brands, models or eras! Usually, manufacturers will issue precise guidelines as to what the optimal pickup height should be for a particular model. Personally, I prefer to do it by ear as I need to hear the changes through my effect/amp setup.

A last word of advice: in general, when you start turning screws to set up anything on a guitar (truss rod, tremolo system, pickup height, etc.), start by quarter turns, not full turns. Be gentle! In the case of pickup height, a quarter turn might be enough to reach the sweet spot you are looking for. To give you an example, with the bridge pickup of my Telecaster, I almost cover the full spectrum in about two full turns.

Adjusting Pickup Height on a Telecaster

On my 1978 Telecaster, I cannot find any visible screws to adjust the neck pickup height but the bridge pickup offers no less than three screws (see image below). No wonder as this pickup can be too bright and often needs a bit of adjustment. By loosening (anti clock wise) the screws, the pickup goes down while tightening them (clock wise) brings it closer to the strings. By playing with these three screws, you can have the pickup higher for the lower strings but lower for the higher strings. You can also have it at an angle. Remember the general rule, the closer to the strings the more volume and high end. Mine had to be lowered a bit as I found it a tad too bright for clean work and a bit too rich in “ear piercing” harmonics. Update Feb 2012: refer to the  Telecaster setup guide for official guidelines.

Fender Telecaster - Position of the Pickup Height Adjustment Screws

 

Adjusting Pickup Height on a Stratocaster

My 1997 Fender American Classics Custom Shop Stratocaster is fitted with Kinman noiseless pickups. Chris Kinman has a great pickup height adjustment guide on his website, make sure to check it out.

Anyway, these pickups produce very different results depending on their height so getting it right for your taste and gear is paramount. Luckily, it is really easy on a Strat as each pickup has two screws (see image below). Loosen them to lower the pickup or tighten them to bring it closer to the strings. Update Feb 2012: refer to the Stratocaster setup guide for official guidelines.

Fender Stratocaster - Position of the Pickup Height Adjustment Screws
Adjusting Pickup Height on a Gibson Style Guitar (here, a 61 Reissue SG)

Gibson guitars are much like Strats with two screws per pickup (see image below): loosening the screws lowers the pickup while tightening them brings it closer to the strings. Update Feb 2012: refer to this Gibson.com post for official guidelines.

Gibson SG - Position of the Pickup Height Adjustment Screws

 

Effect News

Soundblox Guitar Envelope Filter

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I covered last year the release of the Soundblox Pro Classic Distortion pedal, an innovative modeling unit which can reproduce the tone of many legendary overdrive and distortion pedals.

Source Audio did it again, this time turning its attention towards envelope filters. The Soundblox Guitar Envelope Filter does all the clean 70s funky tones you would expect from an envelope filter but it is capable of much more. I especially love the way it can fatten a distorted tone, much like a good phaser can. The filter “action” can be controlled “manually” using the Hot Hand ring. If you don’t know what I am talking about, I suggest you watch this video showing the Soundblox Guitar Envelope Filter in action:

http://youtu.be/jPOGYLV9pY0

Note that there is a bass version of the Soundblox Guitar Envelope Filter.

 

Effects, Effects FAQ, Tone tips

Use of Reverb for Guitarists, Part 2: Reverb used as an Effect

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As I have shown in the audio examples at the end of Part 1, a reverb unit can be used as an effect instead of a sound reinforcement tool. The main difference is that when you use the reverb as an effect, you usually want it to be heard as opposed to using it in a subtle fashion to add some depth to the sound. It is something that guitarists on the lookout for bigger tones have pioneered, thanks in large part to Fender whose amps often offered a built-in spring reverb. And let’s not forget their stand alone tube reverb unit which is an absolute classic.

The Fender Twin Reverb, a classic example of amplifier with builtin reverb

Surf music wouldn’t have been quite the same without these Fender clean guitar tones laden with spring reverb. But listen to Stevie Ray Vaughan’s albums and you will hear quite some spring reverb as well. It shows that electric blues is another style where amp reverb is a common staple. Past spring reverbs, a classic example of studio reverb used partly as a sound reinforcement tool and partly as an effect is Voodoo Chile Slight Return by Jimi Hendrix. The wah wah intro is completely magnified by an EMT plate reverb.

The downside of reverb used as a live guitar effect is that it can be difficult to control in a venue, even a small one, because the venue itself will already have some natural reverb (see my previous post). It might make your tone really muddy which might be why, come the eighties and the advent of cheap digital delay pedals, most guitarists switched to using delays to widen their tone. It is not quite the same thing though and I can sense reverb pedals becoming popular.

Adding a Reverb to your Board

If reverbs have always been present in multi effect units, Boss was until about 10 years ago the only brand that offered a compact reverb pedal. Nowadays, there is a wide array of models on offer. Here is a short selection of reverb pedals :

  • Boss RV-5: Boss was the first company to manage to squeeze a digital reverb in a compact pedal. I personally own an RV-3 which can generate Reverb AND delay effects (I will make a demo soon). The RV-3 has been replaced by the RV-5 which has dropped the delays but has gained a spring reverb simulation among other things.
  • Electro Harmonix: the Holy Grail and its siblings have become immensely popular. They sport a luscious digital reverb as well as a spring reverb simulation.
  • The T-REX Room-mate is digital I suppose but it features a tube for added warmth.
  • The TC Electronic Tone Print “Hall of Fame” is the new kid on the block, here is a demo which shows you what you can do with a good reverb pedal (TC also offers the Nova Reverb) :

And finally, here is a demo of the Sole Mate and Reverbamate pedals from Vanamps. They are the only non digital/actual spring reverb pedals that I know of, for those of you who demand the real deal:

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