AfterSound Reverbophone Reverberating Microphone Black Oak with Blond Grill

Reverbophone is the reverberating microphone. It turns moving air into real, physical reverb—no DSP. 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. The result is natural space and believable distance, from room to cathedral. Deep lows, smooth highs, powerful! Set the length. Record. Done.

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.

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 require phantom power.
• 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.

• 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