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Our offices are located in the city or Orange, California and we do offer a local pick up option for any orders placed through our website. After placing an order with the local pick up option selected, please e-mail us at email@example.com to schedule an appointment for your pick up.
We understand that you may be delaying a purchase, hoping to get the "latest and greatest." However, we cannot discuss what products we may/may not be working on or planning to introduce in the future. The reason for this is usually one of the following:
We have no plans for this now, but this could change.
We have plans to do this, but we don't know when. Also, these plans could change.
We are working on this, but we are not ready to publicly announce it yet (due to several factors).
Please understand that we cannot reveal anything to you in a "private" e-mail that we wouldn't want made public, because there are those people who will copy-and-paste this information into a public forum. Not saying you would; but we don't really know you, do we?
Versions 1 and 2 of the mono Wet Reverb supported a battery. We used an internal switching power supply to increase the battery life to 12 hours (which would otherwise be about 6 hours), and this made the pedal more expensive and prone to failure; even though only about 10% of customers used batteries.
Many people confuse weight with quality; a heavier object somehow feels more durable or valuable. Some pedal builders take advantage of this psychological trick by using a heavier enclosure. For example, some use die-cast zinc instead of aluminum. There is little difference between the material properties of these two metals (at least for their use in pedal enclosures), but zinc weighs twice as much.
We think that if you are carrying a pedal board around, especially a large one, you might not like this. So, we don't artificially weight our pedals.
We recommend modulation effects ► delay/echo ► reverb at the end of the signal chain. One of the better explanations is provided here.
Shimmer can be placed in various locations depending on the desired effect. We prefer to put shimmer before chorus (if you have one), because chorus before shimmer can increase dissonance in the shimmer effect.
If you will be using the hold-for-shimmer feature in our pedals (for occasional reverb-only), then put the shimmer at the end of the signal chain.
It depends on the type of pedal, and you can place effects in either or both places in the signal chain.
Effects such as overdrive or compression should always be placed before the input of the amp.
Effects such as reverb, chorus and delay work best after distortion or overdrive. If you run your amp clean, then these effects will work before the input to your amp. If you use the overdrive in your amp, then these effects should be put in the effects loop.
There is some variation between effect loop levels, so we cannot absolutely guarantee that our pedals will work in your effects loop. Generally speaking, if similar 9V-powered pedals work in your effects loop, then our pedals will too. If you have problems with instrument-level effects in your loop, you may want to consider using an Ebtech LLS2 Line Level Shifter or similar level-matching device.
Hum or buzz is usually caused by a ground loop and is more likely if the two amps are not the same type. The potential for ground-loop hum can be reduced by plugging your amps into the same power outlet or power strip.
There is a simple test to check if your amps are susceptible to ground-loop hum: plug a guitar cable between the inputs of the two amps. Yes, this sounds strange, but it will not harm the amps. This is simply connecting the grounds of the two amps at their inputs. Whether or not this results in hum or buzz will be the same if you run a stereo pedal to the two amps.
As you can see from this test, ground-loop hum is entirely dependent on the amps. If your rig does hum when using a stereo pedal, we recommend using an Ebtech Hum X on the AC plug of one amp.
First, the type of bypass only applies to when the pedal is actually bypassed. When the pedal is active, the signal is buffered--regardless of the type of bypass. So, if your pedal will be active all the time (as a reverb pedal might be), then save yourself some money and opt for the buffered-bypass version of the pedal.
That said, we generally recommend that the first and last pedals in any pedal chain be a buffer, a buffered-bypass pedal, or an "always on" pedal. This ensures two things:
a constant input impedance presented to the send (effect send or instrument), ensuring consistent tone when bypassing effects, and
an uninterrupted output driver to the return (effect return or amplifier input), minimizing any true-bypass switch pops due to slight differences between local ground references.
The pedals between these two may be true bypass, if so desired. The more pedals you have, the more you may want them to be true bypass to minimize any accumulated noise. However, if you only have a few pedals, then it's less critical that they be true bypass.
If you are still uncertain, then get the true bypass option. On our pedals, you can always configure a true bypass pedal as buffered bypass if you were to have any issues with true bypass.
True bypass is equivalent to patching a cable around the effect; both the input and output of the effect are disconnected from the signal. This makes it impossible to have trails, which requires that the output of the effect remain connected.
However, our true-bypass effects have an option for buffered trails (see the User Guide). Some effects also have the option for "two-stage" bypass, which is a hybrid between true bypass and buffered bypass. To our knowledge, this is the closest thing to having both trails and true bypass at the same time.
There are certain specifications we do not publish, because they have little-to-no bearing on sound quality or performance. Some manufacturers tout these numbers, but we know from vast experience that bigger numbers rarely translate to better sound. Publishing these numbers serves no purpose other than to mislead or confuse the customer:
Sample Rate — bigger is not necessarily better unless latency is a concern, especially once you go beyond the frequency bandwidth of the input signal or of human hearing
Bit Depth — nearly all digital gear is at least 24-bit these days
Processor Speed means little, because most modern digital signal processors can do several parallel operations simultaneously. In addition, an elegant, optimized algorithm will often perform more efficiently than a poorly-coded, inelegant algorithm on a faster processor.
The specifications that do matter are published in our User Guides:
Latency: note that an analog dry path means no latency
Total Harmonic Distortion
And of course the most important "specification" is how it sounds. Only you can be the judge of this.
There have been 5 versions of the mono Wet Mono Reverb:
v1 (model year 2009, brushed aluminum with blue & silver overlay)
v2a (model year 2010, black with black & silver overlay)
v2b (model year 2011, black with black & silver overlay)
v3 (model year 2012-13, black with dark blue & white overlay)
v4/v4tb (model year mid-2014+)
With respect to the original version 1, version 2a:
increased the Mix knob range to go 100% wet at full clockwise
increased the Depth knob range to go to "near infinite" at full clockwise
tweaked the lower Depth knob range to sound less "slappy" and more like a small room
increased the size of the battery compartment to accommodate a larger battery (i.e., rechargeables)
With respect to the version 2a, version 2b:
replaced the true bypass with a switchable buffered/unbuffered bypass
increased the wet signal headroom by about 6 dB
added the low battery indicator
reduced the wet signal level slightly to make it easier to add "just a touch" of reverb
The v2b version can be differentiated from v2a version by the label on the bottom of the pedal or on the box, which indicates how to change the switchable bypass. Or, if no label is present, then you have v2b version.
With respect to the version 2b, version 3:
adds trails bypass
improves Mix knob taper: ultra-fine control from "just a touch" of reverb to 100% wet with no volume loss
adds variable headroom control for line level use at lower Mix knob settings
In reverb parlance, this is called pre-delay. This is normal and an integral part of the Wet Reverb 1.x algorithm. Pre-delay separates the reverb tail from the dry signal, resulting in greater transparency. Reverbs without sufficient pre-delay tend to "wash over" or "cover" the dry signal.
If you are accustomed to a reverb without pre-delay (such as a spring reverb), this may sound unusual at first. However, an overwhelming majority of users come to appreciate the pre-delay after a short adjustment period.
If you prefer less pre-delay, then please try one of our newer reverb algorithms available via the Expanse Series or the Immerse Reverberator.
It sounds like you have inadvertently enabled the Kill Dry switch, which is located to the left of the power jack. This function is used primarily when placing the Immerse in a parallel effects loop; otherwise, you want to make sure this switch is in the off position (to the left, when facing the pedal in the upright position).
It sounds like you have the long-press function enabled. Normally this function is used with the shimmer effects to switch between shimmer and reverb only. This is accomplished by simply turning the right-hand knob (shimmer level) to 0. If you have this function enabled with another effect loaded, it will seem like the right hand knob doesn't work.
Also, remember that the long-press function (like tap tempo) does not automatically go away when you load in a different effect. You need to disable this function on the pedal itself as follows:
Remove power from the pedal.
Hold the footswitch down, and reapply power while keeping the footswitch held down.
If using the ExP, change to the effect slot you want to configure.
If you are reading this, it's probably because you are experiencing some kind of problem. We know you may have had some unpleasant experiences with other companies when requesting support, and you will not have that experience with us. We will reply to your request promptly and solve your problem as quickly as possible.
We ask that you first do your part in eliminating any other source of the problem by performing the Troubleshooting steps below.
Is the effect output attenuated or "squashed" but the dry signal ok? This means the signal level going into the pedal is too high, and the DSP has limited the effect output to avoid clipping. Turn down the signal level going into the pedal, and make up the difference afterward.
Finally, try the pedal by itself—just guitar ► pedal ► amp (or direct). If the problem disappears, there is probably something else in your signal chain causing the problem.
Neunaber Audio Effects warrants its products to be free of defects in materials and workmanship for three (3) years from original date of purchase. During this period, Neunaber Audio Effects will repair or, at our discretion, replace the defective product at no cost, after returned to our warehouse.
This warranty does not cover products that are damaged through negligence, misuse, alteration, or incorrect/failed power supply; nor does it cover consequential damages resulting from defects in materials or workmanship.
This limited warranty is transferable, but only when the original purchase was from an authorized re-seller of Neunaber Audio Effects and provenance can be documented.
Exceptions to this policy are as follows:
Power supplies and other accessories are warrantied for one (1) year only.
Once you are certain the pedal is not working properly, contact us with a description of what you are experiencing. Please stick to the facts:
Which pedal is it? True bypass or buffered? Which version? Not sure? Check here.
What works and what doesn't?
How is it connected and to what?
Is there any other relevant information, especially if you have an unconventional use case?
A Picture is Worth a Thousand Words
If possible, we strongly encourage you to send us photos or a video showing how your pedal is connected (both signal and power) and what pedals come before and after. A video is especially useful for demonstrating an irregular sound and/or sequence of events that cause an unexpected behavior. Sometimes this may seem unnecessary, but in most cases it helps us completely understand the issue and rule out any other potential causes.