Looking for a new verb to replace my Yamaha spx90ii, which is terribly noisy. Someone local is selling an Alesis Microverb 3 for \\\. Would this. They said it couldn’t be done – yet Alesis’ Microverb III incorporates improvements over its predecessors while retaining its “budget” status. WHEN YOU THINK. Multi-Effects unit. This is the original and not the remake model. From the Alesis manual:Born from the original Alesis MICROVERB and MICROVERB II, the.

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More importantly, it’s everything that a piece of budget audio equipment should be: With to wade through, however, I’m sure I’ll be forgiven for not offering a blow-by-blow account of individual effects.

To this extent, the absence of MIDI clearly represents no drawback at all. In this respect, I found the Microverb III an excellent workhorse that provided an extensive range of sounds which worked well both with vocals and instruments.

User reviews: Alesis MicroVerb 3 – Audiofanzine

You might expect a budget reverb unit to be fairly simple in operation, but the kind of simplicity we’re talking about here is one which doesn’t compromise overall performance and ultimately makes this such an attractive machine. Previous article in this issue: No longer is it possible to characterise an entire processor as being “ringy” or “woolly”.

It’s enough to give you ulcers Alsis switch the rotary knob to the next position. Fancy a longer reverb time? There are still ringy and woolly reverb sounds around: For those not familiar with the idea let me explain that this form of control involves gripping a round plastic “knob” which protrudes from the front panel, and turning it either in a clockwise or anticlockwise direction.

Alesis Microverb III 16 Bit Digital Reverb and Delay | eBay

This was particularly interesting when creating rhythmic effects in conjunction with a drum machine. One-third rack size cases which were home to the first two Microverbs were not only a pain to accommodate, but always seemed to carry the stigma of “non-professional” equipment with them. For the most part, I found the effects comparable to those on units costing two and three times as much though of course, on the Microverb, they are only available individually.

Given the rather unpleasant nature of digital microevrb, however, this is perhaps no bad thing. I’m sure that when it came to designing mmicroverb marketing the Mk III version of their entry-level reverb unit – the Microverb – no-one will have been more aware than they of the need to pitch it accurately. A total of 16 different effects for imcroverb reverb type are available, arranged, for the most part, in ascending order of reverberation time.


As of now the answer is stereo programs including delay, multitap and other effects, individual low- and microverv EQ, a standard 1U-high rackmount box and a price which will still leave you with change from two hundred small round bronze ones. Ordinarily on this kind of machine you could have expected to find only fairly safe effects designed to please everyone but with no real character. In addition, there are settings for Short, Medium and Long Delay effects, for Medium and Long Regenerative Microvetb effects and for Multitap and other “FX” – again, with 16 different varieties of each arranged in ascending order of delay time.

Similarly, both need to offer some technological improvement over previous models and over their nearest rivals – but make your entry-level unit too good and you’re left with a problem as to what to include on units higher up the ladder. It might have been useful to alwsis a list screened on the top panel of the Microverb although this is of little use once installed in a rack.

Perhaps we’re on the verge of a new era in technology. Searchable archive of old, out-of-print music production magazines.

Gear in this article: Review by Nigel Lord. Please include your email address if you want to be contacted regarding your note. Both have to provide value for money – but this is usually much easier for the public to identify in budget equipment.

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If you’re enjoying the site, please consider supporting me to help build this archive And with more and more models competing for whatever gaps are still left in the market, the pressure on manufacturers alesls grown in intensity and the need to come up with a best-selling design has ,icroverb on a new urgency. WHEN YOU THINK about it, the design and selling of a new piece of hi-tech musical gear for the budget end of the market must cause manufacturers more headaches than a unit at the top of the same range.

Though they couldn’t claim to have micoverb set the ball rolling – that accolade has to go to Yamaha for the release of its ground-breaking R design with four count ’emseparate reverb programs – Alesis have probably been responsible for filling more “U”s of rack space with effects processing gear than any other company.

However, the sheer number of programs has meant that some rather interesting reverb and delay effects have also found their way in and really do make this a fascinating machine to work with. Carrying the torch in this exciting new field, the Microverb III comes equipped with no less than seven of them – for control of Input, Mix and Output, Low and High EQ, and for selecting the effects program itself.


It really helps – thank you! If you value this resource, you can support this project – it really helps! Too expensive, and they get overtaken by their rivals; too cheap, and they don’t make any money.

Basically, all the most popular reverb types are catered for, and alongside Small, Medium and Large Rooms, we find settings for Medium and Large Halls as well as Chambers, Plates, Gated and Reverse effects. So, provided there is a suitable point at which to do so in the song, you could always switch in a different reverb or delay program by hand.

In practice I found the delay times to be very sensibly chosen and sufficiently closely spaced remember you have 16 settings for each delay type to ensure tempo changes are kept to a minimum. ONE OF THE great things about reviewing the original Microverbs was that with only 16 programs, it was quite feasible to run through each one and describe the quality of the effect. Happily, you soon begin to remember the settings with a little use.

That said, you do need to consult the manual fairly regularly when you’re trying to remember the effect settings for each position of the switch on the right of the unit – this sort of information would be included in the LCD on more expensive models.

And although the Microverb III is eclipsed by most other rack-mounted effects units in terms of onboard facilities, its performance cannot be judged to be anything but professional. As owners of earlier models will be aware, the Microverb was one of the first pieces of equipment to feature a revolutionary new concept in parameter control – the knob. Well, obviously, life without MIDI-controlled program changes would be that much more difficult, but I don’t think that the type of programs provided by the Microverb need to be changed mid-song very often.

After all, when was the last time you heard a record which featured a change of reverb halfway through? Nigel Lord is drowning in reverb. And it’s so intuitive: