THE REVERBOPHONE

The decay time is adjustable, ranging from a 0.1 s room to a 4–5 s hall via a simple lever. ( Can be adjusted with a optional remote unit)

The front side features a durable grille where the membrane picks up vibrations. The back side has the same grille with acoustic damping behind it, as well as the control panel.

The panel offers:

• Two XLR outputs (L/R) that requires phantom power. A mono button that combines the outputs to one.
• Sweepable high-pass filter (0–200 Hz).
• XLR input and volume control for use as a traditional plate reverb.

When used in traditional mode, the built-in amplifier and transducer drive the plate. Power is supplied via a 12–18 V DC adapter.

Specifications:

Height: 1710 mm

Width: 936 mm

Depth: 440 mm with wheels

Weight: 62 kg

Output: 2 XLR (L/R)

Input: 1 XLR

Output impedance: 440 ohm

Requirements: Micpreamp with phantom power.

Hand made in Hälsingland, Sweden

The remote controls the length lever of the reverbophone so you can dial in the perfect room size from the control room.

Comes in two different colours. (honey oak and black oak)

The remote is connected to the reverbophone unit via 3pin XLR. So you can run the remote signal trough you regular mic lines.

One remote can control 2 reverbophone units.

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.

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.

The sound of the Reverbophone is naturally influenced by the room it’s placed in.

In a lively, reflective space, the ambience of the room will feed into the Reverbophone’s own "room", adding an extra layer of space and dimension.

In tighter rooms, placing the Reverbophone close to a wall is often a good choice, helping to keep the response more balanced.

Just like any microphone, experimenting with distance and angles to find what you’re looking for is part of the process.

Placement is everything.

When using the Reverbophone as a traditional plate reverb, the main difference is what makes the plate move.

Instead of the sound waves in the room exciting the plate acoustically, a transducer (a small speaker attached directly to the plate) is driven by an amplifier.

To do this, connect a balanced mono line signal to the Line Input on the control panel, and power the built-in amplifier with 12 V DC. The amplifier then feeds the transducer, which vibrates the plate in response to the incoming signal.

The outputs remain the same as when you use the Reverbophone as a microphone — two phantom-powered XLRs carrying the signal from the internal microphones. so you still need to connect to two preamps.

So the only thing that changes is what excites the plate:

either the sound in the room, or a line-level signal coming from your mix or send bus.

How it sounds.

When used as a traditional plate reverb, the Reverbophone behaves — and sounds — like a classic plate unit.

Because the signal from your mix is sent directly into the plate via the transducer, the result often has a brighter top end and a more focused tone.

However, since the transducer excites the plate from a single point, the low-frequency response isn’t as deep or as natural as when the plate is driven acoustically by sound waves in the room.

When used as a microphone, the entire surface of the plate responds to the air movement around it, creating a more complex and organic sound field.

In practical terms, the difference can be striking:

on loud sources like drums, using the Reverbophone as a microphone captures a depth and physicality that a traditional plate setup simply can’t reproduce.

On softer sources like acoustic guitar, the two modes are closer — both musical and usable, just with different character.

The remote controls the length lever of the reverbophone so you can dial in the perfect room size from the control room.

Comes in two different colours. (honey oak and black oak)

The remote is connected to the reverbophone unit via 3pin XLR. So you can run the remote signal trough you regular mic lines. The length between the remote and the reverbophone is (if you have high quality shielded cables) basically limitless.

One remote can control 2 reverbophone units.

The remote is powered with 12vdc. (included)

When using the remote you need to connect the 12vdc to the reverbophone aswell. This will power the integrated servo that moves the length lever.

There are 2 LEDs per channel that tells you what´s happening, the WORKING LED and the READY LED.

When the length lever is in the transport position the remote is inactive, the WORKING LED will be blue, you need to manually put the lever out if this position, now the WORKING LED will be turned of and the green READY LED will illuminate. As soon as you move the fader the red WORKING LED will lit up and the green READY LED will be swithed off as long as the lever is moving. When the lever has reached its destination the red WORKING LED will turn of and the green READY LED will be lit.