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If you are not satisfied with your purchase, you may return any new, unblemished product (except apparel) purchased from Neunaber Audio Effects within 15-days of receiving your product.
Maybe you changed your mind, or it just wasn't what you expected. Whatever the case may be, you may start a return by visiting our Returns page.
There are two ways:
We do not perform custom modifications of any kind. However, we do welcome any comments or suggestions you have that may help with future pedal development.
We could, but we won't. Here's why:
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:
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.
Our pedals have been designed to work well with many instruments, and in particular, stringed instruments. This includes guitar, bass guitar, pedal steel guitar, violin, keyboards, organ, etc.
Our enclosures are made from die-cast aluminum, which is durable, light-weight, and resistant to corrosion.
Many people confuse weight with quality; a heavier object somehow feels more durable or valuable. Some pedal manufacturers take advantage of this psychological trick by "dead weighting" the 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 have also seen dead weight added using a thick steel plate inside the enclosure.
We think that if you are carrying around a pedal board, especially a large one, you might not like this. So, we don't artificially weight our pedals.
Steel is also used by some pedal manufacturers. While stronger than aluminum, it is heavier and can rust. Steel enclosures are generally folded rather than die-cast, which leaves gaps at the seams. These gaps make it easier for dust and moisture to enter, which may affect the circuit's longevity. They also degrade the enclosure's ability to act as an electrical shield.
For these reasons, we think that die-cast aluminum is the best choice for pedal enclosures.
No. We do not emulate any other specific effects.
Here is a detailed comparison of the features of these pedals.
To be clear, there have only been two versions of these pedals, which we will call "v1 Stereo" and "Expanse." The v2 Stereo pedals were simply rebranded as Expanse; they are, in fact, the same pedals. To quickly tell the difference: the v1 Stereo pedals have the green "nt" logo on them, while Expanse pedals have the current "neunaber" logo.
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.
Short answer... see this flowchart:
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:
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.
No. The dry signal remains analog.
Of course not. That would be silly.
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:
The specifications that do matter are published in our User Guides:
And of course the most important "specification" is how it sounds. Only you can be the judge of this.
We use modern assembly techniques. We do not use "hand-wiring," because it is prone to human error. We produce consistent, reliable results using automation and strict procedures.
All manufacturing labor is performed locally in Orange County, California.
The only advantage is an additional 2.5 dB of dry-signal headroom. This is imperceptible under most circumstances; however, it may be appropriate for a line-level effects loop.
The two dry signals are discrete but the effect signals are not. Therefore, they cannot be used as discrete mono.
There have been 5 versions of the mono Wet Mono Reverb:
With respect to the original version 1, version 2a:
With respect to the version 2a, version 2b:
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:
With respect to version 3, version 4:
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.
As far as we know, all reverb pedals do this to some extent. An overdriven signal has more energy than a clean signal (at a given level), which results in the reverb tail sounding louder.
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:
The long-press function is now disabled.