Gearphoria Volume 7 Number 3

48 GEARPHORIA JAN/FEB 2019 GEAR REVIEWS u Chase Bliss Audio Dark World WHEN I FIRST heard the early whispers about the Chase Bliss Au- dio Dark World, mine was still in the mail. As the early release units started arriving with the demo guys and the reviewers like me, I started to get word from those who had played it before me, and the news wasn’t good. Two reverbs made by two other companies shoved into a Chase Bliss Audio pack- age? What is Joel Korte doing? We are a fairly small group of dudes, and especially those of us who’ve been around for a bit know each other and bounce ideas off of one another. The first reports were that it was a pretty sterile digital delay. Not exciting. When I first started playing the Dark World I wondered what my colleagues had objected to. It’s a Two sides to the story Pedal collab offers unique exploration of reverb/delay BY WADE BURDEN digital reverb. Some digital reverbs try very hard to sound warm and analog-ish. Some try very hard to mimic the unique living, rattling, and crashing character of spring tank reverbs. Others are just digital reverbs, and that’s its own thing. The Dark World is unapologeti- cally digital. It sounds precise and clean. The World side, designed by Keeley Electronics, has the standard Spring, Plate, and Hall reverb settings. I was surprised by how much I liked the Hall setting, never really having been a fan of Keeley’s reverbs in the past; and personally just not a huge reverb guy at all. I found it to sound surprisingly deep and full while remaining bright. I didn’t even know I liked Hall reverbs, but that’s about all I could ask for, and I dig it. As I pressed on I found that the Dark side is where things start to venture out of the ordinary; but you do have to coax it a little at first. This side is based on two effect pedals by Cooper FX, the Generation Loss and the Outward. The Mod setting is reminiscent of a fuzzy VHS tape from the ’80s, well worn and warbly, screen clut- tered by static. The Shim setting is a dual path reverb, with octaves that distort and seem to stretch out forever. The Black setting samples your reverb and holds it in a growing, whirring loop, creating a tangled mess of ambient noise beneath your guitar parts. You can use the two sides of the Dark World independently. You can also run them in parallel or you can run one side into the other - which

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