The world’s first 500 Series Algorithmic DSP Reverb. Designed and Manufactured in Los Angeles, California U.S.A.
Inspired by the 1982 Bladerunner film soundtrack
Our flagship reverb design. 500 series accommodates the highest quality signal path available in pro audio and entirely custom algorithms take you to the apex of ambient exploration.
I know I’m biased… but this is my favorite reverb of all time. The modulation matrix behind the scenes is more complex than it seems from the single knob operation. I love what it does to the reverb tails.
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Featuring precision balanced I/O, higher headroom, per channel discrete processing and best in class signal to noise.
CREATIVE COLLABORATION Get Haunted. Meris + Makeup and Vanity Set
Explore the Mercury7
Click the (+) signs to learn more
Sets the decay energy of the reverberation space.
Alt Function: Predelay
Sets the amount of time that elapses before the onset of reverberation.
Processes signal when lit, passes dry signal entirely in analog when unlit.
Selects the current Reverb Algorithm
ULTRAPLATE: inspiring & lush plate w/ a fast build.
CATHEDRA: massive & ethereal algo w/ a slow build.
HOLD to access Alt Functions: Alt knob functions are available while this button is being held.
Adjusts the balance between Dry and Wet levels.
Alt Function: Pitch Vector Mix
Adjusts the mix between intra-tank pitch-shifted signals & normal reflections.
Sets the overall modulation depth of the reverb algorithm.
Alt Function: Mod Speed
Sets the dominant modulation speed of the reverb algorithm.
Engages the auto swell function.
Changes how low frequencies react in the reverb algorithm. When set closer to max, the low frequency decay times are extended giving the impression of a larger room.
Alt Function: Density
Sets the amount of initial build up of echoes before the reverb tank.
Sets the intra-tank pitch vector interval to: Octave down, slight pitch up, slight pitch down, 5th up, or Octave up. Decay, Pitch Vector Mix & Hi/Lo Freq controls all interact to sculpt the intra-tank pitch regeneration.
Alt Function: Attack Time
Sets attack time for the swell envelope.
Changes how high frequencies react in the reverb algorithm and alters the high frequency absorption of the reverb space. Set lower to reduce the amount of time the high frequencies live in the algorithm for a more natural room reverb.
Alt Function: Vibrato Depth
Adds vibrato to the reverb input for lush, haunting trails.
- Handcrafted Algorithmic Reverbs
- Analog Mix & Dry Signal Path
- Intra-Tank Pitch Regeneration
- High & Low Frequency Damping
- Extensive Modulation Capability
- Variable Auto Swell Envelope
- Premium analog signal path and 24-bit AD/DA w/32 bit floating point DSP
- Stereo and Surround Linkable
- Designed and Built in Los Angeles, California U.S.A.
- Premium quality 24 bit A/D and D/A
- 32 Bit floating point DSP hardware
- -116 dB Signal to Noise Ratio (typical)
- Premium low noise Analog signal path throughout
- Burr-Brown precision balanced input and output drivers
- Stereo and Surround Linkable
- 100% Analog bypass
It sounds like a Replicant was walking into the room.
This is a reverb device that needs to be heard to be understood. It is incredibly musical and offers so much variety that you will most likely waste days just listening to the sounds it can create. In a design that was inspired by the reverbs used in Vangelis’s soundtrack to Blade Runner, you can take control of every stage of the reverb from the pre-delay right up to the last moment of the decay. The Space Decay control at the top of the unit really enhances this feature when combined with the Pitch Vector control. This was my favourite part and one that made me want to listen to the reverb and not really pay any attention to the notes from which it was created. The ability to have the decaying sound vary in pitch is brilliant; especially the Pitch Down and Pitch Up features which have the notes drift off in a dreamscape of colour. It sounds like a Replicant was walking into the room; the effect comes that close to the sounds from the film. If you don’t own a 500 series rack, this device could well be the tipping point to get one into your studio. After you hear what it can do, you will understand that the reverb tank is more than just a bunch of springs.
I’m pleased to report that the sound quality is beyond reproach.
Genuinely wonderful virtual spaces with a massive range of characters as well as some really quite weird and wacky special effects. It’s far more than a straight digital reverb; it is a really effective sound-design tool as well. In fact, Meris “strive to create products that are instruments in their own right, rather than just effects-and that becomes very obvious as you start using the Mercury7.
We are Meris fans.
I love my Meris Mercury7 modules. I bought two of them, so I can run them stereo with shared control. Did you know that the only difference between the Mercury7 and the Ottobit is the firmware loaded onto the EPROM? (And the front-face graphics are also different, of course.) Otherwise, the hardware is exactly the same between the two units. (I have an Ottobit too.) – Andy Hong (Chief Editor)
I am a fan of the Meris line of gear. They are a small shop who builds their high-quality modules in Los Angeles. I have reviewed the Meris 440 mic pre and Ottobit modules, but I missed out on reviewing the Mercury7. Meris was kind enough to send one for me to check out and it’s not going back! – Geoff Stanfield
The Mercury7…certainly breaks new ground as both a versatile, traditional plate reverb and also as a sound- bending, ambience-generating hardware instrument.” “The Mercury7 takes advantage of the Meris team’s analog and digital strengths and employs high quality AD/DA conversion and DSP processing, along with high end analog circuitry, to create unique and captivating reverb and ambience effects. – Adam Kagan
Oh. My. God. This thing sounds unbelievable.
I’m going to be honest with you, at first I was quite skeptical about reviewing yet another reverb. Then I got to hear the sound of the Mercury7, and I felt like an idiot. The Mercury7 sounds wonderfully diverse. It can range from ambient to ethereal, and even downright ghostly… I like it so much that I’m likely to pick up a second one to use in my recording channel strip just so I can keep the first one right next to my synth at all times.
It’s a device that has an extreme musical quality and is something very different….Immediately sounds like it is adding to rather than just being a utility.
It wasn’t just surfing through presets and trying to figure out what I’m doing. It has a musical voice of its own that lends itself to the music. A sort of density which felt musical, but also felt different. Unlike other reverbs. You can set it in octaves, in fifths, create a pitch decay over time. And that’s how he used the Mercury7 to build atmosphere in the track that was “a little bit scary.”