The RV‑200 Reverb offers 12 different reverb types, including an intriguing new algorithm called 'Arpverb'.
Boss’s 200‑series pedals strike a good, practical balance between their simpler compact pedals and the larger, more sophisticated 500‑series pedals. The latest addition to the 200‑series is the RV‑200 Reverb, which offers 12 different reverb types, including a new algorithm called 'Arpverb'. The pedal can run from either three AA batteries (included) or an optional 9V power supply. Stereo inputs and outputs are supported, as well as mono, mono‑to‑stereo and stereo‑to‑mono.
It’s a digital pedal, of course, and this one employs high-quality 32‑bit A‑D/D‑A conversion, while the reverb is generated by a DSP [Digital Signal Processor] using 32‑bit floating‑point processing running at a 96kHz sample rate. All the expected reverb types can be found here — there’s a Room, a Hall, a Plate and so on — but there are also some lovely ‘special’ reverb treatments too. These include Shimmer, the slow‑attack SlowVerb and the new Arpverb, which imposes a shifting sequence on the reverb tail.
127 memories are available for saving patches and as well as the dual onboard footswitches, which can be assigned to different functions, there’s support for external switches and pedals if you need additional real‑time control. Directly from the front panel you can access four memories and one manual setting, independently of any footswitch settings.
MIDI In and Out are on TRS minijacks, and allow for remote Program Change switching of multiple connected 200‑series pedals.MIDI I/O is supported on mini TRS jacks, needing just an adaptor cable to interface with five‑pin MIDI gear, and Program Change messages can be used to change patches in several linked 200‑series pedals at once. The RV‑200 is also compatible with the BOSS ES‑8 and ES‑5 switchers.
All the key parameters can be accessed directly using the front‑panel rotary controls and/or the reverb algorithm selector dial. Essentials such as reverb time, effect level, pre‑delay and high‑ and low‑ pass filters are right where you need them, along with button control for five reverb density options and a parameter knob that changes function depending on the current reverb type algorithm. For example, in SlowVerb mode, the parameter knob controls the dry sound level, whereas in Spring mode it sets the number of springs from one to three. The Time knob can also be pressed to turn it into a patch‑selection control for the first four memories or to enter manual mode. Unlike the deep editing of the 500‑series pedals, Parameter accesses just a single additional parameter relating to the current reverb type. Buttons and associated rows of LEDs can also be used to select one of the four presets or manual mode.
On a more complex pedal I would have bemoaned the lack of a software editor but here you really don’t need one.
Depending on how the footswitches are assigned, the user can bypass the effect, scroll through memories or access a Hold function to generate continuous reverb. Other performance options that can be controlled from the footswitches include Warp (simultaneously controlling feedback and volume), Twist (a type of spinning reverb sound with deep modulation), and Fade. Despite the sophistication of what goes on inside this pedal, the simplified parameter set makes it very easy to set up effects either from scratch or by tweaking existing presets. On a more complex pedal I would have bemoaned the lack of a software editor, but with this device you really don’t need one.
Like other 200‑series pedals, the RV‑200 supports various mono and stereo configurations.
The quality of the conventional reverbs is excellent, and Shimmer and SlowVerb are great for smooth, ambient treatments too. The new Arpverb is very atmospheric, adding sequence‑like effects to the tails. I’m less sure about the authenticity of the spring emulation, which seems to have quite an electronic edge to it, but it’s a musically useful treatment all the same. There’s also a very useful Delay effect which offers repeat echoes and reverb at the same time, in addition to Modulated reverb and that old favourite, Reverse reverb.
Conclusion
So there’s a lot to like here, and having user memories means those using it for live performance will be freed from forever bending down to adjust knobs. If you want the full‑fat experience, the RV‑500 will still be the beast of choice, and that model also includes a Space Echo emulation that can be used alongside the reverb. But for easy access to all the live essentials, the RV‑200 has it nailed.
