For starters, I love reverb, but, the right ones for the right jobs. Spring.....has its place, for sure, and seems easily available. The kind of reverb I'm looking for, in a pedal, can be found in my old Lexicon LXP1 and LXP5. Both LXP5s have bit the dust, and this is after keeping them alive by replacing the rotary switches (a few hours on a huge Chinese supply sight several years back got me the cross-referenced part numbers that are no longer manufactured in the USA) I also found some of the upgraded chips that Lexicon used in some more expensive units. I'm afraid that the old LXP 1 with die soon and so have been looking for a reverb pedal that is comparable in terms of quality. I communicated with Jim Williams, well-known Lexicon modder and upgrader about the units and since the rotary switches were ruled out a the source of the deaths, he said, "It could be anything." I took this to mean, a lot of time and money. Add shipping, USD/CAD exchange rates....probably not worth it.

What I've tried so far: [1] Hall of Fame- Not bad, but without any character, and completely nondescript. [2] Maleko Spring Chicken- Sort of a cross between spring and long decay type digital, but can sound a bit 'choursy', which is my main beef with the rest of the pedals I've tried; there seems to be a slight built-in modulation that I can't get rid of. [3] DigiTech Polara- Same problem, in spite of the company claiming the Lexicon footprint, the slight hard wired? modulation becomes distracting when the effects level is turned up, and I sometimes like a LOT of reverb. [4] Earthquaker Devices Ghost Echo-When I first got his pedal, I loved it for its atmospheric, noir vibe, but again, when I want the reverb high in the mix, the modulation makes it sound like a chorus pedal.

Like I said, I'm not looking for a spring reverb sound, more like long, atmospheric, warm, rich, and on and on with the descriptive words, and I don't want or need a developer's idea of whatever they think their hard wired modulation is simulating. What is that? Reflections?

The obvious solution is probably the Strymon Blue Sky. But....I only need two or maybe three settings. If I have to I'll drop the big $$$ for all the extra stuff, but it would be great if there is a pedal that has what I need. The other negative is the Strymon's size, but not a deal breaker.

What say you pedal heads? Any suggestions? Proteus? I know you have a pedal fetish. Anyone?


I generally use a Strymon Flint for reverb, and it has tremolo too. You can get those super long dreamy reverbs with it and I don't hear any of that awful chorus type sound in it - I dislike that modulated sound too. Not as much as that "shimmer" thing with octaves - that sound drives me crazy! The Flint is great. I never use the spring setting; usually stick to the plate and sometimes '80s.

I have an Earthquaker Dispatch Master as well which is moodier and fun. But the Flint is the one stuck down to my board.


I have just such a fetish. For no reason beyond curiosity and pure aural addiction, I've burdened my boards and spatialized my sonic life with most of the current big box reverb pedals - which we'll define as stereo, seriously multi-mode, with every type of "conventional" reverb you can want, along with the strange stuff, and deep in tweakability, MIDI and expression pedal possibilities. Rich sonic playgrounds.

That's what I'll roughly compare here - leaving out pedals with only a handful of reverb types, or which specialize in particular voicings and tricks (like EQD's Ghost Echo, Transmisser, Afterneath and Disaster Transport, Chase Bliss's Dark World, Dr Scientist's Atmospheres, and a host of similar "ambient" pedals by a slew of builders). Many of these are wonderful - for what they do - but few are stereo, none pretend to cover all the bases, and they're very much special effects stamped with their designer's intentions - rather than broad palettes where you might find exactly what YOU want, even if you have to mix it up on your own.

Because even if you only "need" two or three settings, you'd want them to be perfect against what you imagine - and sometimes it takes the power, depth, and breadth of a more sophisticated box to give you enough tools to build the simple things you need.

I'll start by agreeing with your assessment of the Hall of Fame: competent but utterly colorless and without compelling personality. Given your other mentions, I think I have a decent idea of your reverb tastes.

Eventide H9
If you liked your 80s rackers, you'll be stunned by the Eventide H9 series. Here's a single hardware platform - a pedal about 2/3 the size of the (truly marvelous) Blue Sky - which can be bought with its tank only partially full of algorithms, then filled later if you want via easy online/app integration. At full boat, the H9 Max costs more than Big Sky - but it includes all the algos from all of Eventide's multis (Space reverb, Time Factor delay, Mod Factor modulation factory), a degree of integration we've yet to see from Strymon.

Getting an H9 is as much like joining a secret society as buying a pedal. There aren't meetings, but you register as an owner (so the software knows what level you bought in at) and then get access to the requisite stuff on the site, with good software for tweaking the pedal. (Because the pedal has a MINIMUM of interface itself.)

I only mention the H9 because you said "Lexicon," and the next word that pops into anyone's head who was in studios in the 80s and early 90s is "Eventide," and there we are. Heritage from that era, suitably upgraded with modern tech, and some of the original DNA. It's biggish money but very compact for what you get, and it sounds rich, detailed, glorious, and addictive. It would be hard not to be happy - unless you like knobs and buttons. Because Eventide has carried elegant simplicity nearly to a fault on this one.

Strymon Big Sky vs Empress Reverb
In which case, other than Big Sky, two other competitors for do-all multis are the Empress Reverb and Source Audio Ventris. They're often compared - but as they're completely different both from each other and from Big Sky, that comparison recognizes more that they're equally powerful alternatives than it helps characterize them.

Both provide all the types of reverb you're likely to imagine, with ample control thereof, but they go about it differently. In the forums where reverb-drenched sniffeurs-de-cork declaim about these matters, the Empress is often praised for having the most "natural" sounding algorithms - the most "realistic" rooms, halls, and larger spaces. (How we can discriminate among representations of plates and springs, both as artificial as artificial gets, I don't know.) So there's that.

This same coterie of sniffers claims to find something candy-coated and unrealistic about Strymon's efforts, accusing the company of consistently tweaking the voicing of their effects to "sound good" - I guess, rather than "real." If that's the case, Strymon would be following suit on Lexicon and Eventide from back in the day, when we were thrilled by the magical new spaces digital reverbs gave us and their liberating transcendence of the limitations of springs and plates - and however close they came to actual physical spaces seemed so miraculous we weren't likely to pick nits.

So a word about Strymon: I'm sure there are enough "pure," non-modulated reverbs under the Big Sky to cover most anyone's needs - reverbs which are not blended with other families of effects. But those might not be enough justification to buy it and dig into its interface. (Not a difficult interface, as these things go, with a near-ideal balance of simplicity and depth.) But Strymon's whole thing is the cleverness and taste with which they do the candy fusions, and if you're not inclined to take advantage of reverb tails mixed with every other effect under the might not get your money's worth from the Big Sky.

In any case, if you want the most natural real spaces, it's arguably the Empress. BUT - in no way is this to say the Empress lacks ear candy and impossible ambiences. It's packed with those goodies - modulations, twinkles, etc. (Every one of these vendors has their assortments of fairy dust.) The Empress is about the same money as the Big Sky; the interface is very different - no LCD screen, lots of knobs, several dual function knobs, and lots to remember about status LEDs if you want to get deep into it. But it's very easy to just grab knobs and tweak, no menus and no modes. (Unlike Big Sky and H9.)

I'm ambivalent about Empress's big-box form factor: while it's smaller in both x and y axes than the Big Sky, and has a smaller footprint - it feels like makes up for that in the z axis. Sucker's a brick, as tall all over as the Big Sky is at the back (after the Sky slopes up from the front). So, compact footprint - but it manages to feel clunky. Definitely wants to be on the back row of a pedalboard big enough to have a back row - and you don't want to put a short pedal beside it wherever it resides without some boot buffer space between.

Source Audio Ventris
More compact yet is the Source Audio Ventris. which also has by some measure the most straightforward interface of any of the contestants. Plenty of options for type, sufficient tweakability on the pedal's face - and one of the best software editors, with access to yet more and deeper parameters (and reverb types you can load in place of the pre-load selections). Its most compelling superpower, though, is that it's a dual reverb - two complete and independent stereo engines which you can run in either series order, in parallel, or simply one at a time.

Sonically, many of the aforementioned aficionados give it kudos for also tending toward "natural" and "realistic" (in modes that try to emulate reality) while appreciating (if some denigrate) its ability to get weird. If the Empress can sometimes be so clean and cool as to sound clinical, and the Big Sky can get soupy sappy and touchy-feely, the Ventris strikes a great balance between. And it just sounds superb; for the first several weeks I had it, I was astonished at the clarity, depth, richness of the sound.

Great tone, killer interface design, just the right amount of power on tap, and easily accessed: marvelous bit of work all around. It might be the ideal entry point into big box land for you - and could be your last stop.

(One thing to note, though: while you get an algo called "True Spring," it's not quite the same as the more fully realized version in SA's True Spring pedal.)

Boss RV-500
But wait! That's not all. There's also the Boss RV-500, from the company's 500 series of next-level tech in response to the above big-boxers. This thing is a true reverb workstation, with another slew of great algorithms and types, and possible deeper programmability of more parameters than any of the others. It also has a fully integrated stereo delay, with modulation, that can be blended with any of the reverbs - or used by itself.

So what could be wrong with it? Well, it's the biggest of the bunch by a small margin - but mostly, what's wrong is the damnable Boss interface. It's not that it's hard, but there are a lot of functions spread over many screens under different headings - along with some globals and control settings that don't sit logically adjacent to patch parameters, and so require a bit of time to even remember they're there, much less what they can do for you - and tedious at best. With typically hideous blocky Boss LCD-screen 1980s text and graphics. Also - it's not "tuned" at all. There's little eq or voice shaping of the sort Strymon, Empress, and Source Audio have carefully done for you. The parameters let you go further - and thus into the weeds on both sides of what you're aiming for. It's perfectly possible to make it sound dreadful, and you kinda have to get to know it in order to tweak it to sound its best.

But at its best, it's fabulous, arguably the equal of its competitors. It's probably worth the time it takes to come to terms with it, but it does take time and repeated exposures. Not a quick tweak. Of course it comes loaded with at least dozens of programs, and many are quite good (if few are ear-tinglingly great out of the box) - all are great starting places to tweak and learn.

Also, the RV-500 has excellent cost-to-function ratio if you're willing to dive in (particularly given the reasonably fully featured delay Boss throws in for nothing). If not, money is better spent on products whose designers want them to sound good even if you don't know what you're doing.

Electro Harmonix Oceans 12
Aaaand, EHX is coming quickly with their entry into the big box reverb wars, the Oceans 12. Based on the giddily great value of their Grand Canyon (little) big box delay, I pre-ordered the O12, which should be coming in the next few weeks. It looks tiny next to the others, and packs some 22 algorithms from the bread-and-butter to the can't-wait-to-see-what-wackiness-EHX-has-in-store-this-time – AND, like the Ventris, two independent stereo reverb engines that can be run series or parallel. (And, of course, "configurable bi-directional pitch shifts," because what's a reverb pedal without THAT? And dynamic patches whose behavior changes with input strength...and "resonant" 'verbs whose parameters should let the pedal come close to many of the single-purpose ambient specialty pedals out there.)

Anyway...all this at 237 how-do-they-do-it dollars. The only demerits? The pedal is so small, the buttons and especially the labels are smaller yet. It's not hard to tweak, and there's enough information on the face - if you can READ it - to keep you from going often to the manual. (But, this being EHX, there will be a manual which explains much great and well-considered functionality which isn't obvious.)

It's just that, man, that text is tiny. On a dark or inconsistently lit stage, if it's on the floor? Forget it. Good thing you can store 24 programs onboard! I'll use mine at desktop level, with a high-beam light focused on it.

As I don't have the O12 in hand yet, I can't speak to its sonic character - but, based on the Grand Canyon delay, my guess is that it might sound something like an extreme version of what SA has baked into the Ventris: a balance of transparency/accuracy and clear engineer-stamped personality carried (if I know EHX) to the point of schizophrenia. I'm looking forward to it.

Finally, I have a couple reverbs which sound ridiculously good - but which have many fewer models and which have very much their own distinctive voices and tricks. I'm not even going to reveal what they are. When I eventually post pics of my boards, I'm going to black them out. Just ain't tellin'. Secret sauce of the highest order.

Well, OK, wait; there are three, I guess. I'll tell on one of them, which you should also check out (but this post is long enough without my going into great detail). That's the GFI System Specular Tempus, not only made in Indonesia, but conceived and designed there. And it's a little wonder. It doesn't have as many reverb types as the other kids, but the algorithms are glorious, and it's also a full-featured delay.

This one kinda splits the difference between reverbs that are supposed to do everything for everybody, and reverbs which bear the distinct imprint and intentions of their designers, voiced to have unique personalities. It's just capable enough to be an all-in-one – and with enough character to be a bit specialized.

Size Comparisons (in inches), biggest to littlest

• Boss RV-500: 6.5 x 5.25, sloping from 1 to 1.75 (but somehow clunkier than BS), jacks on top
• Strymon Big Sky: 6.5 x 4.75, also sloping from 1 to 1.75; jacks on top
• Empress Reverb: 5.5 x 3.5 x 1.75; jacks on top
• Eventide H9: 4.75 x 5.75 x 1.35 sloping to 1.75; jacks on top
• EHX Oceans 12: 4.5+ x 3.5+ x 1.75; jacks on top
• GFI Specular Tempus: 4.75 x 3.25 x 1.75; connections both on top and "bottom" - MIDI and an effects loop - so add at least .75" if using both
• Source Audio Ventris: 4.25 x 4.5 x 1.25; jacks on sides (so add .75" or so in width)


Now that was some good readin'; chock-full of the lowdown I was hoping for. Thanks to you both. Proteus, your lengthy dispatch will be a great reference as I research the on-line demos of the numerous devices.

Speaking of footprint, a few years ago I picked up my old Revox A77 tape recorder that had just been repaired by the local Studer guy, and there was this thing on his shop floor about eight feet long with perhaps a couple dozen vacuum tubes visible. It was a plate reverb. Wow! Never saw one before and had no idea they were so large. Just goes to show how far we'll go for that effect; almost suggests that there is something primal driving our quest. Programmus humanus.


I read that all the designers say spring reverb is the hardest to duplicate of any analog effect. For me the EH Holy Grail Nano is all I need and they are mounted on top of the amp, really part of the amp, not on my pedalboard of 2 two pedals (Boss trem/vibrato) which is ALL I AM ALLOWED to use.


If its not one of these I'm not really bothered


I love reverb as an essential part of my sound -it's always on- but that being said, I'm a bit of a reverb Luddite and just use a nice spring tank in my amps.


I got a Neunaber Wet for my son to use with his vintage blackface Deluxe (yes I'm envious) and I must say it's pretty impressive for a little box with 3 knobs. Really gorgeous, lush HiFi sounds.

They also make a stereo version.


The only reverb pedal I've ever heard that absolutely nailed spring reverb is the TC Electronic Nova Reverb. The HOF doesn't come close. The Catlinbread Topanga Reverb is 98 percent of the way there. I haven't found a single other pedal that even deserves mention. Just an aside, mind you; I can't speak to the Lexicon issue. And now back to our regularly scheduled programming...


How about convolution IR pedals like the AMT or Logidy EPSi?

The AMT is the only one left? The latest one is expensive.


So many cool pedals. Of course none are as cool as those tanks you guys have there. I must say, that GFI Specular Tempus is impressive, based on YouTube demos. The others on your list are impressive too Tim, but that one stands out to me; striking, really, but a bit more than I'd like to spend. ($1 US = close to $1.40 CAD because of the economic situation) So a $400 pedal becomes plus 40% + shipping + 13% Canadian taxes when it can do.)

For something that might suit my immediate needs, I'm kind of impressed by the demos of the EH Cathedral reverb. Not as refined as the high end stuff, but probably fine for gigs, and the prices on used ones are good, even a bargain in some cases. I like the ease of tweaks, settings can be saved as presets, when you turn a knob, you hear the change in parameters, the number of reflections are controllable from one to multiple (takes care of the hard wired modulation issue), stereo if needed, just enough reverb types to still have more than I'd need (put flange in that bucket), and it's kinda purdy too.


Yeah but whoa whoa! I had a Cathedral when I did my last romp through stereo verbs, probably 2011 or so, just before the advent of multiple choice in the big box world. I did an exhaustive shootout, played a bunch of bits into a looper and then recorded them through...seems like 7 or 8 pedals and posted the results for a blind taste test.

Hardly anyone cared...but at that time, I was impressed (and amused) by the Cathedral and kept it while I sold most of the others - Hall of Fame, Neunaber Wet, Boss RV5, Digitech Hardwire SupposedlySomeCustomBigDeal naked emperor, I've forgotten. I kept the Strymon Blue Sky on my board, both because it won my personal taste test and because it was the best sound in the smallest package.

I put the Cathedral away for later entertainment, just because I liked it (and had had a blast with its toy-candy Flerb and Reverse Delayverb modes). So when my latest bout of reverbomania hit 18 months ago or so, I got it back out to compare to the New Stuff - and, man, it just failed miserably. There were still some entertaining elements, but the core tone just sounded grainy and low res compared to the tech in the newer boxes.

You're right about its virtues of ease of use and preset handiness, I agree that it's purty, and I was proud to have it in my fex cabinet resting in its box, ready for me to get religion again and go back to church. But...I found it, not so much a false prophet, but a through-a-glass-darkly affair - and mine became one of those bargains on Reverb.

When you get it in the room with you, you're likely to find its core tone a bit grittier than you'd like - certainly not as smooth and pristine as the Hall of Fame with which you already parted. It's economicable for sure, and it'll pass at gigs no doubt. But I'm not sure a reverb lover will be sonically satisfied once he hears some of the others.

I often see the Ventris selling for 250.00 - 300.00 - I certainly didn't pay 400.00 for mine - and the RV-500 comes in at attractive prices (though it's a handful to wrangle). And don't give up on the Specular Tempus if you're intrigued; watch Reverb for deals on it as well.

AND...unless you're just stricken and gotta have something now now now (which I understand), don't buy a Cathedral till the Oceans 12 washes ashore and we know just how good it is. At just over 200.00, I think it's going to be the value leader in top shelf reverbs.


Tim, I’m tickled to hear (see) you talk about the H9. It’s just an insane box and Eventide’s business model regarding it IS pretty unique, as you pointed out. For example, there are 3 versions: the H9 Core, which is the box plus one single algorithm of your choice; an intermediate (can’t remember its name at the moment) which is same as the Core but with 3 algorithms of your choice instead of the Core’s 1. Then there’s the H9 Max, where not only do you get ALL of Eventide’s algorithms, but every NEW one they EVER come out with, free and for life. (They’ve added three new algorithms so far since I bought my Max and I got them all for free for every H9 that I own.).........because.....

“But wait! Don’t call yet! There’s more!”

If you buy one Max, you can then buy up to 5 Cores, each about $450 to $500 cheaper than a Max...BUT...if you already have a Max, you can convert every Core that you buy (WAY cheaper) to a Max for FREE. All it takes is Bluetooth to do it. (I also highly recommend the Barn 3 aftermarket add-ons. Adds two more buttons to the box, along with an auxiliary outboard button that you can put anywhere on your pedal board. You can program each individual button to do whatever you want.)

The Core-to-Max conversion has been great for me because the H9 will do SO FREAKIN’ MUCH STUFF, but only 1 of those things at a time. Thus is why I have 4, and they’re all Maxes but the last 3 started out as Cores because I bought my Max first, then converted the other 3 as I bought them.

Nothing out there like them. Each one is a pedalboard in a single stomp box.

(And no, I don’t work for Eventide. Haha)

That is all.


Wayulp, I just learned that ya can’t add a pic by editing an existing post.


If I was to spend serious $$ on a reverb now I'd probably get a Source Audio Collider. I'm sure that it would have more than enough delays and reverbs for me. Thing about these boxes with a gazillion sounds - I only ever end up using one or two. But I do like programmable presets.

If I could get one smallish box which did good delay and reverb in one I'd go for it. So many of these boxes fall short though - Boss sound great but change my base signal more than I'd like - an awful lot of them do. Strymon changes my base tone but it's small enough that I can live with it. TC have the best buffers in my experience - they do change tone but for me it's actually slightly for the better.

I haven't heard any Source Audio gear so don't know how I would like the sounds. I did have an Eventide Timefactor which was pretty good - and I've had the Strymon Timeline too. But they're too big and do too much silly stuff I don't need to justify keeping such an expensive piece of gear.


Tubwompus - Just curious - why would you need FOUR H9s on your board? I thought you could pretty get it all done with one? That's an expensive pedalboard!


Tubwompus - Just curious - why would you need FOUR H9s on your board? I thought you could pretty get it all done with one? That's an expensive pedalboard!

– JimmyR

Well sir, like I up’n mentioned in my post, they can do lots and LOTS of wonderful things, but only 1 at a time. So each one has its own assigned application (most of the time).

1 for modulation-based stuff, 1 for time-based, etc. That said, not always. For example, there’s an EQ/compression patch intended for Fender single coils called “Leo to Lester” which like its title denotes, makes Fenders sound surprisingly Les Paul-ish. There’s also an opposite “Lester To Leo” patch for them both together and the tone is so freakin’ rich! But it takes two H9’s to do that, 1 per patch. Two more H9’s gives the option to add whatever else you might want/need in a given situation to tailor the tone to just like you want it, i.e. ‘verb or flange or Leslie or simulated 12-string or pitch shift, for example. Or some other insane stuff that only Robert Fripp might want. Haha I’m still growing into them and expect to be for the rest of my life.

The bottom row of my board could largely be thought of as redundant. They do have their specialized functions, like the JangleBox for Rickenbackers and the Game Hen is a very special fuzz that a fella made 5 of. And I can’t bring myself to let go of my Electric Mistress. But it’s mostly sentimental, although I’ve yet to tweak a comp patch in the H9 that could bring me to forsaking the JangleBox, but I’d be shocked if I didn’t eventually hit on it. But if I want to, I can easily completely ignore the bottom row and still be more than stylin’.


Thanks for the explanation. I've seen other guys with more than one H9 so figured there must be a reason! An H9 could possibly suit my needs but it's a lot of money for something I never see for sale locally so I can't try one out without buying online. And our Aussie dollar is really, really bad right now...

I've had a couple of Neunaber reverbs before too but they always sound more worship-oriented to me than rock'n'roll.

I was thinking about this thread today when playing the Jet through an El Cap (set to slapback) and a Flint on plate setting - it was sounding mighty fine.


I hear ya, bud. Cheap they ain’t as pedals go. I just didn’t want a pedalboard with own postal code so that’s why I went the way I did.

In case you may find it interesting, Eventide has put out a big ol’ bunch of vids on YouTube about the H9.

Best of luck to ya on whatever you decide upon.


Wayulp, I just learned that ya can’t add a pic by editing an existing post.

– tubwompus

Sam, you can but you have to go through the add picture process again while you are in there editing.


You realize you ARE my hero, Bob. Thanks bud.


I'm heeding what you say about the Cathedral Tim; I can hear what you are referring to, even from listening to on-line demos. The difference between it and some of the verbs on your list is strikingly apparent.

The Oceans 12 sounds great, but with all of the possibilities and 'effects' and routing capabilities, I can see it being better suited for studio and live applications outside the realm of guitar. Seems like it would be useful for keyboards, synths, sampled sounds in need of processing, etc. Some guitarists would wallow in its myriad of possibilities, but its a little too much for my needs.

I must say, after reading yous guys' posts, I feel like a reverb lightweight. Nice to see the depth of love for it. (LORE?)


Our guitars are capable of playing an infinite variety of songs, but we only ever play a small fraction of them.

Which is to say we need not feel obligated to exhaust the possibilities of any of our gear. It’s enough to find just what suits us in it, and there’s no guilt in leaving the rest of it there for other guys.

We don’t buy great guitars because they have more songs in them - we buy them because they sound great on the little pile of songs we do play.


Our guitars are capable of playing an infinite variety of songs, but we only ever play a small fraction of them.

Which is to say we need not feel obligated to exhaust the possibilities of any of our gear. It’s enough to find just what suits us in it, and there’s no guilt in leaving the rest of it there for other guys.

We don’t buy great guitars because they have more songs in them - we buy them because they sound great on the little pile of songs we do play.

– Proteus

I hear you, but I can be just curmudgeony enough to reject something that has too much or too many of what doesn't appeal, like shimmer and some other modulation effects. The difference between the old LXP5 half rack and some of the newer pedals, is that while almost anything is available in the LXP5 if one wants it badly enough to get in there and programme it, the pedals seem to wear a lot of the oddball modulation effects like shimmer, etc., on their sleeves. I know, that's sounds like pretty weak logic, so add finicky to my world view when it comes to gear. I guess my ideal reverb pedal would be a Holy Grail Neo, (spring, plate & hall) with better quality reverb, comparable to the new high end stuff, but with three knobs instead of one. (mix, length, & tone)

I have to say though, that in spite of all the extras, the quality of the standard reverb types on the new high end pedals does sound fantastic, and in the end, that's what really matters.


"Our guitars are capable of playing an infinite variety of songs, but we only ever play a small fraction of them."

Oh not mine! Mine are forbidden from playing anything by Air Supply, The Eagles, ABBA, REO Speedwagon, Styx, or Stairway to Heaven (other Led Zep is ok though).

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