Overb ?

JPROBERTLA · Post by **JPROBERTLA** » Wed Dec 14, 2011 3:07 pm

One of the things I heard a lot about in Korgs later than my Triton Studio, was the Overb. I have experimented with it as a master effects reverb (I used a version of hall reverbs in that slot with my Triton) in my sequences and have found it to be unremarkable.

Will anyone with experience with this effect tell me what I am missing? Is this a reverb that is good for master effects, or am I using it incorrectly?

Any help would be greatly appreciated.

jimknopf · Post by **jimknopf** » Wed Dec 14, 2011 5:03 pm

I don't know what you are missing, though I normally don't use it as master effect (for that I use mastring effects in my software DAW).

I regard this reverb as the best 'musical' reverb available for instrument patches on any hardware workstation. It allows to use even big spaces without sounding 'hollow' or 'dead' or 'clinical' or'metallic', or 'muddy', as others do IMHO.

Or do you know any other hardware reverb providing a warm big room like in the Lyle Mays piano patch?

Not meant as a criticism of your question, just a feeback from my taste.
I can offer no help, because I myself am using this reverb by trial and error.

cello · Post by **cello** » Wed Dec 14, 2011 5:31 pm

Agree with jimknopf here - for me, the Overb is the best reverb out there; it is superb.

Can only suggest you tweak it - my OASYS Overb works like a charm now that I have developed my own edits/presets.

RonF · Post by **RonF** » Wed Dec 14, 2011 6:32 pm

I find that reverbs in general come in several big categories, and then several sub-categories. Example: first you have algorithmic vs convolution. Then you have "real world acoustic space" vs "virtual space" vs "effect" reverbs. And beyond that you have individual colors of verb often associated with Lexicon, Bricasti, TC, Eventide, etc.

In my view.....Overb makes an outstanding algorithmic "real world acoustic space" hardware reverb, with *some* outstanding "effect" reverb capabilities. It is super clean, and its "space" is very authentic and natural, with little or no ring modulation in its decay. On its longest time settings, it decays forever with a very clean shimmer. Its not infinite, but its musically very practical and usable.

But what Overb is not is a convolution space reverb, nor is it a full spectrum effect reverb of the caliber of say Eventide or 2C Audio. If you seek or expect that type of "color".....Overb will not give it to you as you may wish. In my studio, I use Eventides and 2C Audio for effects, East West Spaces for convolution, and Overb for natural space (particularly great on acoustic pianos and voice).

danatkorg · Post by **danatkorg** » Wed Dec 14, 2011 6:55 pm

Make sure to check out the FX Presets for the Overb, as well; they may provide helpful starting places.

- Dan

danatkorg · Post by **danatkorg** » Wed Dec 14, 2011 6:56 pm

[deleted - duplicate messages due to server errors]

cello · Post by **cello** » Wed Dec 14, 2011 6:58 pm

You know, Dan - sometimes you're too helpful

Don't give away the secrets...

danatkorg · Post by **danatkorg** » Wed Dec 14, 2011 6:59 pm

[deleted - duplicate messages due to server errors]

Cpilot · Post by **Cpilot** » Wed Dec 14, 2011 7:15 pm

I played around with the Overb but it seemed rather amorphous. Couldn't figure out what it was supposed to do. I much prefer the other reverbs, tailored to the specific environment I'm trying to create. Smooth Hall is one of my favourites as I do a lot of orchestral and organ stuff. Sounds great with combi I-D 058 Cathedral Organ. Other than that it's just plain old Room for things like the CX-3.

Bryan

danatkorg · Post by **danatkorg** » Wed Dec 14, 2011 9:28 pm

Cpilot wrote:I played around with the Overb but it seemed rather amorphous. Couldn't figure out what it was supposed to do. I much prefer the other reverbs, tailored to the specific environment I'm trying to create. Smooth Hall is one of my favourites as I do a lot of orchestral and organ stuff. Sounds great with combi I-D 058 Cathedral Organ. Other than that it's just plain old Room for things like the CX-3.

Bryan

You'll find halls, rooms, ambiences, etc. in the O-verb presets. In general, I far prefer O-verb over the other, older reverb algorithms.

cello · Post by **cello** » Wed Dec 14, 2011 10:10 pm

O-verb is the most adjustable reverb available. It is absolutely the best x 100.

Put it this way, if I want reverb, I will route other keyboards through the OASYS audio inputs to get O-verb. Yes, that includes the JP-80 - which does have good reverb in its own right but is not nearly as good as Korg's.

Cpilot · Post by **Cpilot** » Wed Dec 14, 2011 10:33 pm

Thanks for the info, Dan. I'll take another look at Overb. I guess I'm just old fashioned (and old).

Bryan

aron · Post by **aron** » Wed Dec 14, 2011 10:47 pm

Yes, that includes the JP-80 - which does have good reverb in its own right but is not nearly as good as Korg's.

I would love to hear the violin patch on the JP80 through the internal, then the overb for comparison.

cello · Post by **cello** » Wed Dec 14, 2011 10:56 pm

aron wrote:
Yes, that includes the JP-80 - which does have good reverb in its own right but is not nearly as good as Korg's.
I would love to hear the violin patch on the JP80 through the internal, then the overb for comparison.

Tell you what - I'll record the JP-80 violin with (Roland) reverb sound then take the same source and record through Korg O-verb.

Will post links in this thread - as soon as I can, but may be at the weekend.

aron · Post by **aron** » Wed Dec 14, 2011 11:17 pm

FWIW I though the Jupiter 80 reverb was very good for the acoustic instruments. It really fattened up the sound and to me contributed a huge amount of what made the sounds what they were.