Tony reviewed the Wellspring (spoiler: he dives deep and comes up smiling:). Imagine our excitement when we discovered a forward looking, feature-packed spring reverb being made to a high standard right here in the UK Extra stereo delay lines? Yes please. Stereo filters and modulation controls to stop the ringing when it goes into lovely, long oscillations? Brilliant. We could go on (and we will when we get our demos done very soon). Wellspring say: A lovely analogue stereo spring reverb unit with many useful controls that sounds authentically vintage and yet modern at the same time. Effects ranging from super-subtle heavenly reverb to full-blown demonic screaming can easily be achieved with a quick twist of the dials. Complimentary features: A stereo pair of delay lines with nice added extras2 types of Stereo pitch and filter modulation up to audio oscillator speedsExternal LFO SyncMany stereo switching possibilities4 different sweep-able stereo analogue filters2 full-sized spring reverb tanksA magical ping-pong feedback loop around the whole thingA high impedance guitar input as well as stereo line inputs and outputsCan be Rack or Table-mounted with attachable ears or rubber feet.With four springs in total, two per channel, the two full-sized spring reverb tanks provide an authentic, gloriously wide and rich stereo reverb sound. Feeding into the reverb tanks are a stereo pair of delays. With feedback controls plus separate or sync-able delay times, they blend beautifully with the reverb (plus the magic*) to allow the user to create really long reverb tails. Really long reverb tails can start to ring however. That's why we added stereo filters plus modulation controls. These work to scatter the feedback tails, allowing lovely long, smooth, natural and authentic sounding analogue stereo reverb sounds of great depth and complexity that need to be heard to be believed! An extra bit of magic comes from a feedback loop around the whole system that makes it sing (or scream) even more. When you turn this up wonderful, unexpected things start to happen. It controls how much of the spring sound is sent back to the delays. The channels are crossed over so the right spring is fed to the left delay and vice-versa. This allows for the creation of practically infinite tails.
