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Product Manual
GATED R
E
VERB
Effect Overview
In the primordial ooze of studio tricks, many recording engineers had to invent their own
effects. Double tracking and flanging started as manual manipulations of magnetic tape and
the machinery used to process it. One such effect is gated reverb, the combination of digital
reverb and noise gate, “invented” in the ‘70s but popularized in the ‘80s by one Phil Collins.
Like many now-legendary effects, gated reverb was invented by accident using the Solid State
Logic SL4000 Talkback Mic channel and AMS RMX16 digital reverb units. The premise is
simple enough: the gate is a function of the signal strength; once the signal level drops below
an adjustable threshold, the reverb tail snaps shut. Our CBX recreates this magical symbiosis
with an overdrivable preamp, adjustable reverb lag time and a full wet-dry blend. The result
is a lovely and expressive “always-on” reverb that stays in its lane and won’t interfere with the
all-important mix.
Controls
This adjusts the delay
between the original note
played and the onset of the
gate. You can use the lower
half of the control to
fine-tune your picking
attack, and just past noon
gives you slapback and
reverse-esque sounds. Think
of it as a pre-delay control
for the gate.
Controls the balance
between dry and wet
signals. When set to its
minimum, you will hear just
the dry signal fed through
the preamp. At maximum,
the reverberated signal is
the only thing present.
Controls the level of the
onboard preamp.
LAG
MIX
PRE
GATE
Controls the sensitivity of
the gate. Keep this low for
the least amount of gating
and longest reverb trails,
turn up for running higher
gain devices before or
making the effect more
subtle. When the Gate knob
is all the way down, the gate
is removed from the circuit.
This can be manipulated
with your guitar's volume
control by lowering the
signal level and forcing the
gate to clamp shut.
VERB
On a reverb pedal with no
gate, this would control how
long the reverb tail rings
out. But since there’s a gate,
this essentially governs the
thickness of the reverb.
Setting this knob low gives
some mild reverberation
and maxing it out gives a
huge, harmonically rich
reverb sound.
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Power Supply
The CBX accepts a center-negative DC power supply from
9 to 18 volts, capable of supplying at least 100mA of
current (over is fine). Plugging in anything other than this
(center-positive, AC, higher voltage, etc.) will potentially
brick the CBX. I cannot recommend doing this. Check your
supply and make 100 percent sure it says all the right
stuff. If you plug in the wrong supply, you’ll immediately
send your pedal to the shadow realm. Even though that
sounds pretty cool, your CBX doesn’t want to go there,
this I can promise. Run it at 18V for more headroom.
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