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Strymon Flint Tremolo & Reverb
A Perfect Gentleman.
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 pedalboard friendly format.
Tremolo Types
Flint provides you with three distinct tremolo types. Read our Tremolo white paper and learn how we studied and captured these sonic details.
'61 HARMONIC
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.
'63 POWER TUBE
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.
'65 PHOTOCELL
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.
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