Walrus Audio · Reverb

Walrus Audio Fathom Settings Guide

Walrus Audio's flagship multi-function reverb — four algorithms (Hall, Plate, Lo-Fi, Cave) with a dedicated Decay control, Mix control, and the x4 sub-oscillator switch that adds a low-frequency resonance beneath the reverb tail. The Cave algorithm produces a dense, unpredictable reverb texture used in ambient and post-rock contexts; the Lo-Fi setting adds bit-crushing and flutter to the reverb signal. The Fathom is positioned between the Boss RV-6 and the Strymon BigSky in terms of complexity and price, and is widely used by artists who want expressive reverb control in a professional but not boutique-priced enclosure.

The best Walrus Audio Fathom settings start with: Decay at 5/10, Mix at 4/10, Tone at 5/10, Mod at 3/10, Algorithm at 0/10. Adjust from there based on your amp, guitar, and room volume. For Post-Rock / Ambient: Decay 8/10, Mix 6/10, Tone 6/10, Mod 5/10, Algorithm 3/10.

What Each Control Does

Decay
Short Tail
Infinite Hold
Reverb tail length. At maximum, the Fathom sustains indefinitely (freeze mode).
Mix
Dry Only
Wet Only
Blend between dry guitar signal and reverb signal.
Tone
Dark Warmth
Bright Air
Reverb EQ — dark settings warm the tail, bright settings add shimmer and air.
Mod
Static
Heavy Modulation
Modulation amount applied to the reverb tail. Adds pitch movement and chorus-like character to the tail.
Algorithm
Hall
Cave
Four algorithms: Hall, Plate, Lo-Fi, Cave.

Recommended Starting Settings

Safe starting positions for any style. Adjust from here based on your amp and room.

5
Decay
4
Mix
5
Tone
3
Mod
0
Algorithm

All values on a 0–10 scale. These are starting points — fine-tune by ear.

Settings by Genre

Post-Rock / Ambient
Decay8
Mix6
Tone6
Mod5
Algorithm3

Cave algorithm, high Decay — the Fathom's signature ambient setting. The Cave algorithm produces an unpredictable, dense reverb tail with character unique to Walrus Audio's design; at Decay 8 the tail is long enough to blend sustained notes into a continuous pad. Mod at 5 adds pitch movement to the tail. This is the setting for ambient and shoegaze guitar where the reverb is as important as the dry signal.

Studio Reverb
Decay5
Mix3
Tone5
Mod2
Algorithm1

Plate algorithm, moderate Decay — the Fathom as a standard studio plate reverb. The Plate algorithm produces a smooth, even reverb character suitable for clean and overdriven guitar in a mix context. Decay 5 and Mix 3 keep the reverb supportive rather than dominant; this is the most utilitarian Fathom setting for recording.

Lo-Fi / Indie
Decay6
Mix5
Tone4
Mod6
Algorithm2

Lo-Fi algorithm, darker Tone — the Fathom's bit-crushed, saturated reverb character used in indie and lo-fi contexts. The Lo-Fi algorithm degrades the reverb signal with aliasing and flutter; combined with Tone 4 (darker) and Mod 6 (heavy pitch wobble) the result is a worn, cassette-era reverb texture.

Live Clean
Decay4
Mix3
Tone5
Mod2
Algorithm0

Hall algorithm, conservative Mix — the Fathom as a live reverb replacing an amp's spring reverb. Decay 4 and Mix 3 produce a supportive room character without dominating the dry signal; the Hall algorithm is the most universal and mix-friendly of the four. For live use where the reverb should add space without calling attention to itself, this is the starting point.

Tips & Common Mistakes

  • The x4 sub-oscillator switch (the small toggle on the right of the pedal) adds a low-frequency resonance beneath the reverb tail that produces a synth-pad-like quality to sustaining notes. Use it sparingly on individual notes rather than on chord playing — the sub-oscillator adds a fixed pitch character that can create dissonance against chord changes if left engaged during rhythm playing.
  • The Fathom's Mix control at maximum (wet-only) allows it to be used in a parallel effects loop without volume increase from the dry signal — ideal for guitarists who want reverb as an independently controlled element. In a series loop, keep Mix between 3 and 6 to maintain the dry signal presence.

Walrus Audio Fathom — Common Questions

Best starting settings for Walrus Audio Fathom: Decay at 5/10, Mix at 4/10, Tone at 5/10, Mod at 3/10, Algorithm at 0/10. Adjust from there based on your guitar, room, and playing style.

For Post-Rock / Ambient: Decay 8/10, Mix 6/10, Tone 6/10, Mod 5/10, Algorithm 3/10. Cave algorithm, high Decay — the Fathom's signature ambient setting. The Cave algorithm produces an unpredictable, dense reverb tail with character unique to Walrus Audio's design; at Decay 8 the tail is long enough to blend sustained notes into a continuous pad. Mod at 5 adds pitch movement to the tail. This is the setting for ambient and shoegaze guitar where the reverb is as important as the dry signal.

For Studio Reverb: Decay 5/10, Mix 3/10, Tone 5/10, Mod 2/10, Algorithm 1/10. Plate algorithm, moderate Decay — the Fathom as a standard studio plate reverb. The Plate algorithm produces a smooth, even reverb character suitable for clean and overdriven guitar in a mix context. Decay 5 and Mix 3 keep the reverb supportive rather than dominant; this is the most utilitarian Fathom setting for recording.

Decay: Reverb tail length. At maximum, the Fathom sustains indefinitely (freeze mode). (Short Tail to Infinite Hold). Mix: Blend between dry guitar signal and reverb signal. (Dry Only to Wet Only). Tone: Reverb EQ — dark settings warm the tail, bright settings add shimmer and air. (Dark Warmth to Bright Air). Mod: Modulation amount applied to the reverb tail. Adds pitch movement and chorus-like character to the tail. (Static to Heavy Modulation). Algorithm: Four algorithms: Hall, Plate, Lo-Fi, Cave. (Hall to Cave)

The x4 sub-oscillator switch (the small toggle on the right of the pedal) adds a low-frequency resonance beneath the reverb tail that produces a synth-pad-like quality to sustaining notes. Use it sparingly on individual notes rather than on chord playing — the sub-oscillator adds a fixed pitch character that can create dissonance against chord changes if left engaged during rhythm playing. The Fathom's Mix control at maximum (wet-only) allows it to be used in a parallel effects loop without volume increase from the dry signal — ideal for guitarists who want reverb as an independently controlled element. In a series loop, keep Mix between 3 and 6 to maintain the dry signal presence.

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