The Reverbophone is a stereo microphone.
At its core, the Reverbophone is a microphone. A very big microphone. You could there for maybe even call it a macrophone.
Inside the unit, a large tensioned plate begins to vibrate as sound waves from your voice or instrument hit its surface. Those vibrations are captured by two internal microphones mounted directly on the plate, picking up the complex motion and natural decay that the plate produces. Even though the plate is moving, it’s completely silent to the ear — all the sound exists only inside the microphones.
Decay time.
The decay length of the plate can be adjusted using the decay lever.
When you move the lever, a secondary damping plate is brought closer to the main plate. This physically slows down the motion of the metal by restricting the air movement between the two surfaces, shortening the decay time.
It’s a completely analog, mechanical process — no electronics, no algorithms, just pure acoustics shaping the reverb in real time. Depending on the lever position, the sound can range from a tight, room-like ambience to a rich, extended decay of up to around five to six seconds.
Think of the Reverbophone as a door into a great-sounding room.
Inside that room, you have two room mics capturing everything that happens.
The size of the room can be adjusted with the decay lever, changing how long the sound lingers inside.
Once you start thinking of it that way, everything about how it works will feel natural.
Connecting to your microphone preamp.
Just like any stereo microphone, the Reverbophone has two balanced XLR outputs — one for each internal microphone. Simply connect them to your preamps or interface, just as you would with any other mic.
It requires phantom power to operate, and that’s all it needs. Once powered, it’s ready to use — just plug it in and start listening to the room behind the door.
For best results, use a clean, low-noise preamp that lets the natural tone and dynamics of the plate come through clearly.
The Reverbophone also features a sweepable high-pass filter ranging from 0 to 200 Hz, allowing you to control how much low-end resonance from the plate is passed through.
There’s also a stereo/mono switch that combines the two internal microphones into a single output — a useful option when running two Reverbophones as a matched pair or when a mono return better suits the mix.
Using two Reverbophones.
Some engineers choose to use two Reverbophones when recording instruments like drums.
Even a single unit already produces a full stereo image, so the reason for adding a second one isn’t to make the sound wider — it’s to capture more of the instrument from different positions in the room.
By setting the two units to different decay lengths, you can record two distinct “room sizes” at once and balance them later in the mix for greater depth and flexibility.
Why use a Reverbophone instead of regular room processing?
The biggest reason is simple: the Reverbophone is a microphone, not an effect.
Unlike a reverb plugin or an artificial room simulation, it doesn’t just add a tail to an existing signal — it actually records new information.
Because it’s a real microphone, it adds detail, depth, and movement that other microphones in the room don´t pick up. The result isn’t only ambience — it’s a layer of natural, phase-coherent sound that becomes part of the recording itself.
