In this little short, I’m talking about the thing nobody tells you about reverb: what you hear onstage isn’t always what the audience hears. We were chatting about a couple reverbs folks like—Jim mentioned the Walrus Audio Fathom, and we were also talking about the Quilter reverb in the MicroPro (and Mach 2). I remember that Quilter reverb being pretty nice, and to my ear it can feel a little better than the Henrikson—Henrikson is good, but there’s something a little “robotic” about it sometimes. Peter Henriksen even acknowledged that and worked on improving it. The bigger takeaway is practical: reverb gets drowned away very easily, especially once you’re out in the room or once the guitar is in a recording mix. I’ve had the experience of stepping up to play and thinking, “Holy crap, I sound like I’m in a well”—just swimming in reverb—yet out front it didn’t translate nearly as much. For jazz guitar, I’m not a fan of super-dry, but I also don’t love spring reverb as the main vibe. Give me a hall reverb with some depth, a nice taper, and just a tinch of it—enough to add a little sustain and make you feel comfortable, because if you’re happy with your sound, you play better.