Strymon Flint Tremolo and Reverb – Great sounding pedal. This is my third Strymon pedal dn it is hard to believe they can make a bad pedal. They all sound wonderful!
The Classic Pairing of Reverb and Tremolo
Players who miss the days when tube amps came with onboard reverb and tremolo will be happy to add the two-in-one Strymon Flint to their front end. This flexible stereo pedal marries three decades of vintage spring and studio reverb tones with three independent tremolo models for instant surf rock, blues, rockabilly, and indie rock appeal. Both effects can be used on their own or in series to cover a wide range of creative ground. The Strymon Flint’s two dedicated tremolo parameters and three reverb controls will get players up and running with a great tone in no time. But for tone tweakers, a set of advanced controls, which includes an Effect Order control to put either the reverb or the trem first in the chain, provides endless opportunities for adjustment.
Strymon Flint Tremolo & Reverb Pedal at a Glance:
Three reverbs and trems modeled after Strymon’s favorite amp circuits
It’s no surprise that the developers at Strymon are classic tone lovers themselves. The reverbs in the Flint offer a broad sampling of some of their favorite sounds, including a ’60s tube amp combo dual-spring tank that will be instantly recognizable to guitarists, a ’70s electronic plate reverb with plenty of shimmer and clean tails, and an ’80s digital rack reverb for complex, modulating reverberations. The Flint’s three tremolos are modeled after three 1960s amp circuits: a rare mellow and pulsing harmonic tremolo, a sparkling and gritty power tube tremolo, and finally, a hard-edged photocell tremolo.
Use effects on their own or in tandem, in any order
The Strymon Flint is as versatile as having two great pedals in one compact size. But its real genius is in the way the circuits interact with each other. Try adding the tremolo before the reverb for a more subtle texture, or the reverb before the tremolo for a more clipped sound.
Strymon: a philosophy of quality
Strymon pedals are already an industry standard in professional-quality effects. Strymon is dedicated to offering exceptional customer service and, in their own words, making “gear that sounds better than anything you’ve ever heard.” The California-based company uses only the highest-quality components and powerful processors in their pedals. And each design offers more tweakable parameters than meets the eye for fine-tuning your tone. This construction and dedication to quality are the reasons Sweetwater is impressed with Strymon, and why you can find their pedals on the boards of professional musicians around the world.
Strymon Flint Tremolo & Reverb Pedal Features:
- Includes 3 classic tube amp reverbs and tremolos
- Reverb and trem can be used independently or in series (re-orderable)
- Dedicated controls on both sides for instant tweaking
- “Hidden” secondary control layout for advanced users
- Expression pedal input lets you tap in tremolo speed hands free
- Adjustable 3dB boost/cut keeps your clean and effects levels consistent
- TS mono/TRS stereo input (switchable)
- Stereo outputs feed a stereo amp or PA
- 24-bit/96kHZ A/D/A conversion
- Durable aluminum chassis
- True-bypass switching keeps the Flint from sucking tone when disengaged
The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made it’s way onto countless records and performances—from early surf, swampy bayou blues, spaghetti westerns, film noir soundtracks, to modern day indie rock. There are certain things in life that just belong together—the blend of tremolo and reverb create the perfect pair.
Given this storied history, there was no doubt that we wanted to develop a studio-class effects pedal that delivers this classic combination. We carefully studied our favorite classic tremolo and reverb circuits, examined the sonic complexities, and faithfully accounted for every detail in our hand-crafted algorithms. Flint harnesses the complete power of a SHARC DSP to authentically exhibit these details.
From a Classic Era.
Flint gives you the soothing, pulsating, and hypnotic effects that were pioneered in vintage amplifier tremolo circuits, along with three classic and completely unique reverb algorithms. You get the sonically complex ’61 Harmonic Tremolo, the swampy and sultry ’63 Power Tube Tremolo, and the sharp and balanced ’65 Photocell Tremolo. You also get the classic ’60s Spring Tank Reverb, the inventive ’70s Electronic Plate Reverb, and the nostalgic ’80s Hall Rack Reverb.
With eight parameters to tweak, you get extensive control over the tremolo and reverb characteristics. Go from splashy, pulsing twang, to throbbing, swampy blues, all the way to ambient, trembling, and serene reverberated pads. Couple that with true bypass, and a high quality analog front end and output section, and you have yourself the history of tremolo and reverb in a pedal-board friendly format.
1) The ’61 Harmonic Tremolo is somewhat rare due to its very short period of availability in tube amplifiers in the early 1960s. It gets its signature sound through a dual-band filtering effect that alternately emphasizes low and high frequencies. The end-result is a soothing pulse that has shades of a mild phaser effect combined with tremolo due to the nature of the frequency bands that are alternated.
2) The ’63 Power Tube Tremolo utilized the LFO signal to directly influence the power tube bias of the amplifier’s push-pull output stage. The power tubes are biased into lower and higher idle currents, creating the fluctuating gain that produces the tremolo effect. The effects of crossover distortion at low tremolo volumes, increased power tube harmonic distortion at maximum tremolo volumes, as well as the influence of power-supply sag, all add up to the boggy and dirty nature of this tremolo circuit.
3) The ’65 Photocell Tremolo is a faithful recreation of the classic photo-trem circuits found in mid-1960s American amplifiers. Those classic circuits used a light-dependent resistor to attenuate the input signal, coupled with a miniature neon bulb that is connected to the LFO. As the LFO oscillates, the bulb gets brighter and dimmer which in turn varies the resistance of the LDR. The varying resistance works with other circuit impedances to change the signal level, which produces a characteristically ‘hard’ sounding tremolo that moves between two levels, reminiscent of a square wave.
1) The ’60s Spring Tank Reverb is our faithful recreation of the full-size two-spring tank that was commonly used in vintage amps. The two-spring tank uses spring segments of differing delay times, which adds to the complexity of the reverberated sound. Contributing greatly to the sound are the input and output tube circuits which convert the electrical guitar signal into a mechanical signal and then back to an electrical signal.
2) The ’70s Electronic Plate Reverb pays homage to one of the earliest digital reverbs ever created. The astounding hardware-based algorithm used multiple delay-lines configured in parallel, with each delay featuring multiple output taps and filtered feedback paths. The result is a rich, smooth reverb with a very quick build-up in density due to the summation of the many parallel output taps.
3) The ’80s Hall Rack Reverb is our rendition of the now nostalgic digital microprocessor rack reverbs from the late ’80s. The limited processing power of the day led to the implementation of efficient regenerative series loops of all-pass filters, delays, and low-pass filters. Modulating delay lines were used to increase the reverb density and add warmth. This reverb provides the signature sound of distinctive early reflections followed by the slowly-building density of the late reverberation.