With a strong focus on lush, ethereal reverbs, this desktop device strikes a decent balance between simplicity and versatility.
Erica Synths’ Nightverb is a desktop‑format, stereo‑in, stereo‑out algorithmic reverb effect processor that has enough input level adjustment to allow it to be used with the hotter signal levels of modular synths as well as instruments like guitars and keyboard synths. For those unfamiliar with Erica Synths, the company are based in Latvia, where they also do their manufacturing. Their products have tended to focus on Eurorack modules, desktop instruments and desktop processors — some of which are quite esoteric!
Overview
Nightverb has more in common with what were traditionally rackmount reverb processors than with pedals (there’s no footswitch unless you add an external one), and it’s designed with ease of use in mind, which means it has perhaps fewer user‑adjustable parameters than some of the more feature‑heavy software reverbs. Despite that, it’s capable of generating a surprisingly wide range of reverb effects. While perfectly capable of creating small space emulations and typical studio reverbs, Nightverb’s main focus seems to be on lush, ethereal reverb textures, and though the longest don’t reach infinity, they can probably see it on a clear day! All of which makes it a particularly good fit for electronica and ambient musical styles.
We’re informed that the stereo reverb algorithm used in Nightverb was developed by 112dB, who develop plug‑ins and, more recently, Eurorack modules in Utrecht in the Netherlands, and it runs on Erica Synths’ own custom DSP engine. The styling of Nightverb is clearly related to that of 112dB’s Black Stereo Reverb and Black Stereo Delay Eurorack modules, which are also available from Erica Synths.
Sporting a dark‑as‑night theme, with a moth graphic picked out in gold, the Nightverb is visually striking, and it’s housed in a rugged folded metal case with large, vintage‑style knobs, clear graphics and a gently sloping profile that sits perfectly on a desk. The overall size, including knobs, is 230 x 145 x 70mm, and it weighs 833g. On the rear of the case are two balanced TRS jack inputs, two balanced TRS jack outputs, a footswitch jack, a USB socket for patch backup and firmware updates (there’s no software editor, which could have been a handy touch) plus a PSU input for the included 12V, centre‑positive power supply. If you plan on using a pedalboard PSU, then, you’ll need one that has fully isolated outputs with a polarity swapping cable for the Nightverb in order to accommodate the centre‑positive connection. Mono operation is catered for by plugging into the designated jack and the unit is also happy working with unbalanced connections. The footswitch jack is configurable for bypass, freeze or patch navigation and requires a straightforward TS non‑latching footswitch.
MIDI is handled by a pair of standard five‑pin DIN connectors, and there’s the option of using the Nightverb’s controls to send MIDI CC data via the MIDI thru port (which can be set to operate as either a thru or a straightforward MIDI output). The user can assign custom MIDI CC messages to Nightverb’s parameters if the defaults are not what’s needed. For example, by default the CC message for the Size parameter is 70, which corresponds to Sound Variation. The MIDI input can be used to select patches and to control any of the Nightverb’s parameters other than the gain/volume controls, again using MIDI CC messages. Unusually, when Freeze is active its pitch can be played via MIDI following a 12‑note scale, which works by controlling the Size parameter (this seems to adjust the reverb tail generator’s clock speed) in semitone steps.
The MIDI thru port can be used to send MIDI CC data from the Nightverb’s knobs.
Controls
The front panel has 15 controls if you include the Data encoder, which incorporates a push‑switch. In conjunction with the Back button, a small OLED display is used both to navigate the presets (30 factory and up to 70 user), access various system settings (such as saving and naming patches), and enable a Morph function that allows the parameter values to change at a preset rate (a maximum of 10 seconds) when a new preset is selected. Presets may be re‑ordered to make access easier in a live performance situation. There’s also a Dirty function that provides an alternative reverb character: by default, the Nighverb’s reverb coloration is based on an emulation of magnetic tape, but when Dirty is switched on you get the lo‑fi character of a charge‑coupled (BBD) type of delay. Illuminated buttons are used for Bypass and for the Freeze function.
The OLED display shows patch names and other relevant data and, although there’s only one core reverb algorithm, Nightverb has a few tricks up its digital sleeve. Reverb Size is adjusted using the large knob at the centre, whereas the actual decay time of the reverb tail is adjusted using the Feedback knob. That one ranges all the way from a fairly dry ambience to a reverb decay that’s longer than most songs! The Feedback control function also interacts with the Size and Damp controls, and if a reverb that’s longer than your lunch break still isn’t long enough for you, then the Freeze button will hold the reverb tail indefinitely, allowing you to play over it as a kind of background wash.
A separate knob called Shape adjusts the spacing of the early reflections, while Spin adds modulation within the reverb‑tail algorithm — this can add texture or, at higher settings, an almost chorus‑like modulation. Spin also smooths out any tendency for the reverb tails to sound metallic (a technique originally pioneered by Lexicon). There are separate High and Low Damp controls, adjustable pre‑delay time, stereo‑width adjustment and separate bass and treble controls. The Wet/Dry control works just as you’d expect, and there are separate gain/volume controls for the input and output. In order to save the Dry/Wet knob position in a patch, while still allowing the dry signal to remain analogue, VCAs are used to balance the dry and wet signals, but there’s a user option to switch to a fully digital signal path if that’s preferred. Two rows of LEDs wrapped around the sides of the Size knob act as level meters. Helpful though this is, I’d have found it useful also to have a dedicated clip LED or perhaps ‘traffic light’ coloured LED metering for the two inputs. Bypass cuts the reverb but retains the in and out level settings.
In Use
The reverb algorithm can go from subtle room reverbs or short metallic reflections right up to long, ambient decays that hang in the air for ages. It’s also quite capable of some less natural‑sounding reverb variations, some with an almost granular character while others have a low end that you’d swear involved pitch shifting. The Tone control has a marked effect on the reverb character, producing warm, dreamy textures and washes when the high end is backed off.
At the bright end of the scale, the reverb comes over with a steamy clarity and presence, while maxing out the early reflection spacing using the Shape knob adds a grainy texture to the reverb attack — that can sound really effective on piano and on ‘plucked’ synth sounds. Setting the Feedback control near its maximum can also throw up some interesting timbres. The ability to play frozen reverbs via MIDI is novel, and if you get tired of creating your own patches, you can invoke what Erica call the Magic function via the menu, which creates random presets for you. Some of the random creations are quite unusual but often still musically valid so it is worth experimenting and then saving your successful creations in the user memory slots.
Good Night?
To put this all in simple terms, then, Erica Synths’ Nightverb is a simple‑to‑use yet surprisingly versatile reverb processor that delivers high‑quality algorithmic reverb effects that sit well with synths, just as you might expect from this company. But in reality, it works just as well with any instrument, especially when working in the ambient music genre. It also integrates well with MIDI systems, while its gain structure allows for comfortable integration with typical modular synth systems.
The range of reverb effects on offer here is actually impressively wide, and in terms of quality you won’t be disappointed if expansive lushness is your thing.
Realistically, when it comes to good‑quality reverbs, there’s strong competition in a similar price range from a range of companies including Strymon, Universal Audio, IK Multimedia, Boss, Source Audio and more — but many pedal‑format reverbs will struggle to handle the higher signal levels commonly found in modular synth systems. While the asking price might seem a tad on the high side for a unit built around just one reverb algorithm, the range of reverb effects on offer here is actually impressively wide, and in terms of quality you won’t be disappointed if expansive lushness is your thing. The smaller space emulations are none too shabby either. The Nightverb is an impressive addition to the Erica Synths range and well worth checking out.
Summary
A stylish, well‑designed desktop reverb effect that’s easy to use and offers a surprising amount of versatility.
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