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AMS (Advanced Music Systems)

were a manufacturer of professional studio equipment.[1] The company later merged with Neve Electronics to form AMS Neve.

Early years.

AMS was founded by Mark Crabtree and Stuart Nevison in 1976. They were originally Aerospace engineers before getting into professional studio equipment for the manipulation and control of sound.

DM-20 Tape Phase Simulator (1976)

Their first product was the DM-20 Tape Phase Simulator. This was used by ELO, 10cc and Paul McCartney, who used it on the Wings' London Town album in 1978.

DMX 15-80 Digital Delay Line (1978)

In 1978, AMS introduced the world's first microprocessor controlled, 15-bit digital delay line, the AMS DMX 15-80. One of the early users of the AMS DMX 15-80 was Manchester record producer Martin Hannett.

THe DMX 15-80 is a stereo version of the machine and later the DMX included "loop triggering" launching the use of digital sampling. The DMX later included pitch changing and up to 32 seconds of delay.

DMX15R Digital Reverb (1981)

AMS's first reverb was an expansion of the DMX 15-80. Because AD/DA converters were such an expensive component at the time, it was decided to use the converters in the delays that already where in many studio's.

RMX-16 Digital Reverb (1982)

In 1981, AMS released the RMX-16 digital reverberator. It had the exact same algorithms as the DMX15R, but with it's own converters. In addition to a range of reverb types, the RMX-16 had a program ("Non Lin 2") which digitally emulated the drum sound of a compressed and gated room microphone, copying the effect used on the Phil Collins recording In the Air Tonight. (Collins' drum sound was created by a combination of a room microphone compressed by the "Listen Mic" compressor of an early SSL Console, in combination with cutting off the reverb sound with a noise gate.)

S-DMX (1985?)

last version of the DMX 15-80 with all options included

Aftermath

AMS went on to develop the worlds first commercially available harddisk recorder and editor, the Audiofile. And after the Logic 1, the first dynamically configurable, fully automated digital mixing console.

AMS was bought by Siemens in 1990 and merged it with NEVE electronics in 1992 (Rubert Neve was long gone by then). AMS Neve is still run by Mark Crabtree, who was the main productdesigner for AMS.

Both Mark Crabtree and Stuart Nevison were both awarded Fellow of the APRS.

Documents:

• AMS\compagny\AMS brochure 1981

DOD originally stood for David Oreste Di Francesco, who founded the company in 1973 with business partner and musician John Johnson. David was the original engineer, but Johnson seems (or claims) to be the man of the ideas.

DigiTech was created as a subcompagny in 1984 with the idea that DOD concentrated on effects pedals and Digitech focused on rack gear. (Or perhaps the digital side of things). Eventually, the DOD brand was subsumed under the Digitech label. The lot was sold to Harman in 1990, because the 2 men were afraid the guitareffects-game was comming to a halt. David went on to create Rolls Corporation and John Johnson was hired by digitech in later years as a consultant. Digitech was a some point the world's lagest manufacturor of guitar products.

Also in later years Tom Cram resurerected the DOD brand and started creating new pedals under this name. The whole developtment team was fired in 2018 however in a huge Harman (now Samsung) reorganisation.

JHS pedals has an interview with the 3 men on it's patreon site. Don't listen to everything Josh says though: he calls rack-processors 'anti-pedals'...

'Dynacord Funktechnik und Gerätebau' was founded in 1946 by Ing. Werner Pinternagel in Pilsting, the first products were tube amplifiers as well as mixer and case amplifiers. The first steps towards effects devices followed in 1950 with the development of the Echocord. In addition to the mixer amplifiers (Eminent), Dynacord also built guitars and basses in this era. Dynacord subsequently merged with Echolette and built complete discotheque systems including lighting controls. Dynacord also plowed the world of digital drums (ADD one, Percuter) and built the legendary Rhythm Stick - a drum controller shaped like a guitar.

From 1977 to 1990 Dynacord released a string of rack processors, many of which are considered underrated classics.

One particular aspect of the old dynacord machines is that they were made using very chap cabs, so it's wise to buy these revised, from an experienced tech.

See also:

• https://sites.google.com/site/vintagedynacordcatalog1985/

the father of digital reverb

EMT is famous for their 140 plate reverb, still used in many top studio's. But made it's fame in the digital world with the EMT 250 and the EMT 251, being the first and amazing sounding digital reverbs. They are still in high demand today.

Founded in 1938, EMT first made it's mark in the production of grammaphoneplayers and amplifiers. These were of outstanding quality and equal cost. In 1957 the production of the 140 Reverberation unit was started, and stayed in production for 25 years. It was, like some of the turntables, developted with the "Rundfunktechnisches Institut". Many of the products made by EMT where primarily developt for TV use and could therefore adhere to a very high quality standard.

EMT started it's foray into digital reverberation with the EMT 144, which was rack mouted, but limited and shortlived. The EMT 250 mobile reverberation unit rather, quickly gained a solid reputation primarily among west coast's recording studios in the US, due to its unrivalled sound quality. It was engeneered in 1974 by EMT Technical Director Karl Otto Bäder and MIT Professor Barry Blesser, who had developed and patented the unit's digital algorithm and designed by by freelance industrial designer Peter Bermes. It was nicknamed 'R2D2' because of its iconografic lever controlled interface, or 'Spaceheater' due to its vertical heat sink body made of black anodised aluminium panels and separate U-shaped 'Chimney', housing all heat-emitting ic's and therefore being painted red.

After this initial succes, EMT developed a series of rack mounted Reverbs in different catagories. Topline where the 250, 251 and later the 252. The 'lower' line where the 244, 245 and 246. These still contained the 250's algorithmad were of good sound quality, but were more limited in the effectsprograms.

EMT was bought by the Belgian firm Barco and became ‘Barco-EMT’ on January 1, 1989. The production of professional audio equipment was gradually discontinued. They still made the EMT 248, which was a multi-effectsunit.

short lived career in effectprocessing, yet crating a classic; the DP/4 and it's + sibeling

undisputed kings of the digital effects units

Documents:

• Eventide\compagny\Eventide Full Line Product Catalog

primarily known for Keyboards, Korg made a couple of classic delay units, espacially the SDD-3000, many claim is the key to the Edge's sound.

Korg released their first synthesizer in 1968 and have been at the frontranks of synthesis for a long time since then.

The grand father of digital reverb

In 1971 Lexicon released its first product, the Delta T-101 delay line. This was the first commercially available professional digital audio product, so it is also fair to call this the anniversary of the introduction of digital audio itself.

MIT Professor Dr. Francis Lee had developed a digital delay unit for heartbeat monitoring. With engineer Chuck Bagnashi, he founded the company American Data Sciences in 1969, with offices over the Lexington Savings Bank in Lexington, MA. The company changed its name to Lexicon in 1971, when it appeared that there would be a future in digital technology for language instruction.

Barry Blesser, then a teaching assistant to Dr. Lee at MIT, suggested putting audio through the system. The result was a 100-millisecond audio delay line — not so impressive today, though at the time it was state-of-the-art. This interested the late Steve Temmer at Gotham Audio in New York, who commissioned 50 units from the Lexicon team, to be used to overcome propagation delays in live sound installations and as a pre-delay for echo-plates. Thus in 1971 the Delta T-101 was born, with “Gotham Audio” on the front panel and “Lexicon” on the back. The original unit offered a response up to 10 kHz and 60 dB S/N, which Lexicon felt was capable of improvement. The Delta T-102, sold under the Lexicon name, pushed the noise down to -90 dB and helped to persuade the industry that digital audio was a viable proposition.

1972 saw the introduction of a Lexicon product for the language instruction market — the Varispeech, the first digital time-compression system. Its successor, the broadcast quality Model 1200, went on to win an Emmy in 1984.

Ron Noonan joined the company in 1973 as CEO (a position he held until 1996). He realized that the company needed to diversify, and targeted the professional audio market. The breakthrough was the development of the 224, one of the first commercially viable digital reverb systems, shown at the AES Convention in 1978 and shipping the following year. Designed by David Griesinger, a Ph.D. physicist from Harvard who is still with the company, the 224 remained an industry standard until the 1986 introduction of its successor, the legendary Lexicon 480L.

beginnings

MXR was started by Keith Barr and Terry Sherwood, who had an electronic repair shop since 1972. They regularly got in effectspedals and figured they could do better. And they were right! MXR was imcorporated in 1974 and in that same year the duo released 5 iconic pedals that changed the industry. These were the early giants, along with DOD and EHX. Michael Laiacona joined this early MXR team in a sales position.

Primarily known as a pedal compagny, MXR made a fair share of rack devices; delays, flangers and an early pitchshifter (1976) directed at the guitar market.

In 1984 MXR stopped and the guys went their separed ways. Michael Laiacona went on to form Whirlwind USA. Terry Sherwood went on to form ART with the top four managers/engineers of MXR. Keith Barr proved himself to be the most innovative one through the inventions of his new compagny: Alesis.

Alesis beginnings

Barr founder Alesis Studio Electronics in 1984 directly after leaving MXR. The name stems from the phrase “Algorithmic Electronic Systems.” It was located in Hin Hollywood, to be near the chip-production. Leveraging his ability to design custom integrated circuits, Barr's company was able to introduce technologically advanced products at prices within the realm of most project studios.

XT - reverb (1985)

Alesis' first product was the XT Reverb. Introduced in 1985, the XT Reverb was an all-digital reverb that carried an unprecedented low price of $799. Barr recruited Russell Palmer as Operations Manager and Robert Wilson (Vice Chairman) to handle international sales so that Barr could continue to focus on engineering.

MidiVerb & Microverb (1986)

In 1986 Alesis produced the first under-$1000 16-bit professional effects processor, the MIDIverb, which had a 12-bit A/D converter and MIDI control. It was joined later in the year by the Microverb, which lacked MIDI but had a 16-bit A/D converter.

Other notable products

After enlisting the expertise of Fast Forward Designs, co-founded by veteran Oberheim Electronics designers Marcus Ryle and Michel Doidic (who went on to found Line 6), Alesis introduced the MMT8 hardware sequencer and the very successful HR-16 drum machine in 1987.

At the 1991 Winter NAMM Show, Alesis introduced the ADAT digital tape recorder, which was a tremendous success, and had an enormous ompact on the recording industry.

For the next ten years, Alesis created a wide variety of innovative and affordable products such as the QuadraSynth synthesizer, DM5 drum module and Monitor One studio monitors.

Q2 (1994) and Q20 (1998)

In terms of effectsprocessors Alesis was mostly turning out upgrades to their 3 lines (micro, midi and Quadra). But where the lower lines were really upgrades of the same product idea, the Q2 was a rather different from the earlier quadraverb models, with a much more flexible routing and assignable LFO's and envelopes.

AirFX (2001)

Not a rack effectsprocessor, but non the less wortha mention, because it's truely unique: the Air FX is one of the last products to come out of the origional Alesis. It's a 50 preset-multi effecfs unit with an 3 dimentional control over 3 parameters using infrared sensors.

Bankruptcy and shift of focus.

In 2001 the compagny filed for bankruptcy however and was bought by Jack O'Donnell, who owned Numark, then leading compagny in DJ-sets. Alesis then shifted focus towards drums, small mixers, controlers etc.

The last big rack-succes (which was probably already devoloped before the takeover) was the 3630 compressor (2002), which has become the best selling compressor of all time. Alesis did release a fourth incarnation of the microVerb, but this had little or nothing to add to their legacy.

Alesis founder Keith Barr passed away on August 24, 2010, at age 60, but whatever he might have though of how things came to pass, he surely has had a big impact on multple ereas of the music industry.

PS: The choice I made here to link MXR to Alesis rather than ART is 4-fold:

1. right now I don't have an ART-section yet.

2. Alesis and it's products are very much being linked to Barr specifilacally, while ART was as an effort of 5 MXR people, which made me believe Keith was the more leading engineer of the 2 founders

3. The producs of ART in terms of effect-units have been substantial, but not industry classics like some Alesis products.

4. I could have kept these sepparate, but not only does this save some visual space, I also looked quite differently at Alesis after finding out about the MXR link (and so ART, pehaps I'll find a way to link those too).

I could be very wrong about these things, please let me know!

See also:

• https://www.alesis.com/
• https://www.mixonline.com/technology/memoriam-keith-barr-1949-2010-379042

Roland was founded in 1972 by Ikutaro Kakehashi. He had previously started AceTone in 1960, releasing his first rhythm boxes, organs and guitar amplifiers, but left the compagny as the majority of the shares fall in to the hands of Sumitomo Chemical as a colleral part of a bigger deal.

Roland's first products were rhythmboxes and a couple of effects-boxes; the AF100 Bee Baa and the AS1 sustainer. Kakehashi quickly also made elextric piano's and japan's first synthesizer, the SH1000 monosynth.

As off 1974 Kakehashi also established BOSS. Bassically to jouse some of the AceTone staff that came along with him, but didn't fit very well in the Roland busness structure. The secondary compagny also allowed for some flexibility in the distribution deals. BOSS released the CE1 in 1976 and their first compact pedals in 1977.

Kakehashi has writen a book about his live and Sound on Sound magazine have devoted a grand 5-part article about the (product) history of Roland (links below), which showes just how incredibly prolific the compagny is.

When it comes to rack effect-units, Rolands' first product was the PH-830 Stereo Phaser (1978), under the RSS monicer (Roland Studio System) which soon disappeared again. In this 2u orange-on-black line also came the SBF-325 flanger (1979), the SDD-320 Dimension-D chorus (1979) and the SPV-355 p/v synth (1979) and the SPH-325 phase shifter (1980).

In 1981 Roland released the sde-2000 digital delay, entering into digital effects and into a new, more contemporary look of 1u boxes with bright coloured knobs that was continued for the decade. The SDE-3000 delay being the most iconic, made famous by Steve Vai.

Around mid-eighties BOSS also started producing rack-effects, starting wih the ce-300 chorus (1984) as a full 1u unit, but soon shifting towards a nifty half-rack system, a guitarist-oriented format they kept untill 1999.

In the 90-ies Roland focussed their rack-effects manly on RSS-technology (here NOT 'Roland Rack System' but 'Roland Sound Space system'). Although this never became an industry standard, they made some wellsounding processors, like the SDE-330, SDX-330 and BOSS' SE-70.

The wonderboys from Denmark. Their very first rackunit (2290 delay) has remained the industry standard troughout it's ca.20-year production-run.

Another rack-hightlight is undoubtably the TC 1210, a magnificently transparent and wide sounding chorus

Ursa Major was founded in Boston by Christopher Moore in June 1977. He had previously worked for KLH from 1969 and Lexicon from 1973, after seeing an advertisement of the Varispeech. At lexicon he designed a low cost delay with one input and up to 6 outputs, for early reflections simulations for a home processor. He joined around the same time as Ron Noonan, who would later become president.

#SST-282 (1978)

Ursa Major released their first product within 11 months from starting in June 1978. This was about the same time as Lexicon's 224 (!) but at a quarter of the cost. The SST-282 Space Station had 24 delaylines that are slowly modulated and randomized to achieve decay times of +3 seconds without self-oscillating.

#Stargate 323 and 626

After this Ursa Major released the Stargate and later the 626, which used the same principle as the 282, but were easier to use and and had a larger bandwidth (15kHz instead of 7kHz). They also had a different randomization scheme, creating a much more high end reverb.

#MSP-126

In 1985 Ursa Major released a multitap delay without a feedback, for creating stereo outputs from a single source, creating pattern delays and short stereo ambiances. Only ca.75 of these were made.

#ADR-68k

The zenith product for Ursa Major was to become the Aurora ADR-68K. This was their first dsp-based reverb processor and was in part based on reverse-engineering of a Lexicon 224. Ursa finished the prototype and ran with it for a couple of months but money eventually got very tight for the compagny. At the time of it's developtment, there were a number of digital reverb processors far more affordable then the space station, such as the spx-90, pcm-60 and the MXR 01.

In 1986 Ursa Major was sold and transformed into the Digital Products Division of AKG Acoustics. The ADR-68K was released under this brand changing the ADR from 'Auroral Digital Reverb to "all digital reverb"

#slight return

In 2003 Moore reissued the Space Station in a small desktop format with his company Seven Woods Audio. The SST-206 has the exact same algorithm as the original, but also sports an extra option taking it far beyond the limits of the original hardware.

Yamaha was established in 1887 as Nippon Gakki Co.ltd. by Torakusu Yamaha as a reed organ manufacturer. They started producing pianos in 1900, harmonicas in 1914 and audio equipment in 1922. The motorcycle production is an offspring of wartime production machinery of WOII and has been a separate company since it's start in 1955.

Yamaha's Pro Audio division has been operating since 1969 starting with the production of speakers and mixing consoles. In 1980 they presented the E1010 digital delay aimed at guitarists and is still loved by many. A year later came the E1005 with increased delay time (400ms instead of 300ms) although not in rack format (showing even Yamaha can make misjudgements ;-).

In 1984 Yamaha released a mayor rackmount unit: the Rev1. It was marketed as the 'ultimate reverb processor' and was meant to compete with the likes of Lexicon's 224 and the big EMT units.

But next to that expensive unit Yamaha released a couple of (relatively) affordable units: the R1000 digital reverb (1983), D1500 richly featured delay (1984) and eventually the immensely popular SPX90 (1986). With the introduction of the SPX-90 Yamaha has cemented their place in the rack of ages, being one of the most popular effects units o all time; it's Room reverb is still used to add punch to snare drums all over the world.

Yamaha has since then released a long series of both reverb units and multi-effects. The latest incarnation is the spx2000 (2003) which contains and accumulation of most of Yamaha's algorithms and is still in production as this is written in 2021.

In 1971 Lexicon, under the monicer 'Gotham' release the first en and second digital audio delay. It was used for PA-systems, but also applied as a pre-delay for plate reverbs, making it the first digital effects processor.

MIT Professor Dr. Francis Lee had developed a digital delay unit for heartbeat monitoring. Barry Blesser, then a teaching assistant to Dr. Lee at MIT, suggested putting audio through the system. The result was a 100-millisecond audio delay line — not so impressive today, though at the time it was state-of-the-art. This interested the late Steve Temmer at Gotham Audio in New York, who commissioned 50 units from the Lexicon team, to be used to overcome propagation delays in live sound installations and as a pre-delay for echo-plates. Thus in 1971 the Delta T-101 was born, with “Gotham Audio” on the front panel and “Lexicon” on the back. The original unit offered a response up to 10 kHz and 60 dB S/N, which Lexicon felt was capable of improvement. The Delta T-102, sold under the Lexicon name, pushed the noise down to -90 dB and helped to persuade the industry that digital audio was a viable proposition.

Lexicon also build these for Altec. In 1972 Lexicon released the Model 102 Delta-T. I will add the pictures of that later.

EMT's first foreray into digital reverberation was as early as 1972. But the machine was very limited and did not stand the test of time. If anyone has a picture of this; I would love to have it!!!

The first phaser

This is a piece of music history – the Eventide Clockworks PS-101 Instant Phaser. This was the first outboard device that emulated the sound of tape flanging, and was used most notably by Led Zeppelin – both on the Physical Graffiti and Presence albums, and in concert during live performances of Kashmir and Moby Dick to give John Bonham’s drums that extra psychedelic twinge. This unit is in tip-top working order and all the front lights function as intended, though there are some cosmetic blemishes on the case itself – see the image gallery for details.

While designing a solution to the costly and tedious job of setting up and implementing the special effect known as flanging, Eventide discovered a new effect, now known as phasing. The Instant Phaser allowed this new effect to be created quickly and easily, and its innovative design allowed the effect to be varied by an Envelope Follower, Oscillator or Remote control. The left and right outputs were also out-of-phase with respect to one another, resulting in a great stereo effect.

Phasing was originally produced by mixing the slightly delayed outputs of two tape recorders containing the same program material. In 1971, when the Instant Phaser was introduced, the cost of the hardware necessary to create this effect was prohibitive for most musicians. The affordable Instant Phaser not only made this effect widely popular, it also offered an ideal number of phase networks that tracked very well with each other, providing very deep phasing without destroying the original tone.

famous users:

the world's first pitchshifter. Developed as a medical aid and was also used for slowing down tape recordings for detective work, it was not yet a musical effect, but that changed with the introducton of the later Model 27Y

The worlds first multi effectsprocessor. It does pitch shifting, delay and modulation effects.

Famous for

lowering the pitch on the spead-up re-runs of I love Lucy and the Stereo detune by using 2 machines with up- and down micropitch, as used by Van Halen.

Documents:

• Eventide\Model H910\manual

See also:

• https://www.eventideaudio.com/products/plugins/harmonizer/h910-plugin
• https://www.eventideaudio.com/support/downloads/h910-manual

The second incarnation of Lexicon's varyspeed contains a feedback option, which seems to have no practial medical use. The reason for it being there is not known, but it did turn this machine into an interessing soundeffect.

Used on: Tegan & Sara - The Cure

A couple of years after the DDL 1745A was released, with the rapid advance of semiconductors, memory chips with densities of 4kbits became available. RAMs (Random Access Memory) made it possible to do much more than simply shift a digital bit through a bunch of shift registers. By being able to actually 'store' bits by writing and reading from an addressable location, a wide range of delay based effects became possible. The DDL1745M represented a significant advance in audio and became the industry standard for delay.

"M" Stands for Memory

The DDL 1745M ("M" for memory) was able to delay audio with much finer resolution and vary delay relatively smoothly which also made pitch change possible. RAM made high resolution, single sample, delay possible. The ‘resolution’ of a shift registered based delay was constrained by the time it took audio to pass through each shift register. In the case of the 1745 and 1745A, that was 2 msec. The 1745M’s delay resolution was one sample, 20 usec - 100X finer! Users would flip a switch on the module and spin the knob to dial in the amount of delay with extreme precision with LED displaying the precise time in fraction of a msec.

While the “M” stood for memory, the 1745M chassis was a modular design with 5 slots holding up to 5 output modules. The standard 1745M shipped with 2 delay output modules but users could install up to a total of 5 independent delay modules. With the 1745Ms 5 outputs, a mono source could create a chorus of five voices or be used as a multitap delay to add ambience to a track.

More than a delay

If you think that you just bought a delay line, think again.

The DDL 1745M Manual touted the unit's ability to produce a wide range of effects including comb filters, recirculation (or "repeat"), flanging, tunneling, and pitch changing. The pitch change module was made available as an option in 1976, and it became the world’s first electronic pitch shifter for musical applications. Although it had limitations, the 1745Ms pitch changer was used on hundreds of records after its release.

RAM didn't just make high resolution, single sample, delay possible. It also made two key features instantly available with a pair of front panel toggle switches—“Double” and “Repeat.” Flipping these switches while turning the delay knob made digital looping possible for the first time. Here’s how those two toggle switches worked: The “Double” switch instantly cut the sample rate in half, thereby doubling the amount of delay. The “Repeat” switch allowed the user to instantly capture any audio currently stored in memory and play it back as an endless loop.

Users quickly discovered that flipping the “Double” switch after capturing a loop would play the loop back at half speed with the audio shifted down by an octave. Alternately, turning Double on first and then Repeat would play a longer loop AND then turning Double off would cause the loop to play back at twice the speed and the audio would play back shifted up by an octave. Flipping those two switches and twisting the delay knob while looping open up a whole new bag of creative tricks.

Famous for

See also:

• https://www.eventideaudio.com/products/legacy/ddl-1745m

One of the first Flangers

famous users:

See also:

• https://www.eventideaudio.com/products/legacy/fl-201-instant-flanger

Lexicon's first effect-unit, a stereo delay with a modulation section

I know I know... it's not a rack unit. But it is the world's first digital reverb and we can't see the whole picture without this one...

One of the first digital delays ons the market

Famous users:

Pat Metheny and Jaco Pastorius

AMS's very first product; an Analog flanger,phaser/chorus with 20ms delay. Was expandable tot 80ms.

famous users:

ELO, 10cc and Paul McCartney

Documents:

• AMS\DM 2-20\1_AMS_dm2-20

Considered by some to be the best BBD delays ever made!

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

Documents:

• Dynacord\1977 SRS 56\Dynacord SRS-56 addvert
• Dynacord\1977 SRS 56\Dynacord SRS-56-Manual_Bedienungsanleitung
• Dynacord\1977 SRS 56\Dynacord SRS-56_wiring diagrams

Successor to the H910 with (optional) de-glitching. Does stereo pitch shifting, reverspitchshifting, delay and modulation effects.

Famous for:

Used by Jimmy Page.

Documents:

• Eventide\Model H949\manual

See also:

• https://www.eventideaudio.com/products/clockworks-legacy/harmonizer/h949-harmonizer

original, mono version DMX 15-80

Specifications

Released: 1978

Quantization: 12bit

Sampling Frequency: Unknown

Frequency Response: 10Hz-18kHz

Dynamic Range: 90dB

THD: Below 0.035%

Famous for

countless of records

See also:

• https://www.gearslutz.com/gear/neve/dmx-15-80s
• https://www.vintagedigital.com.au/ams-dmx-15-80s-stereo-digital-delay/

among the best flanger ever made, but is a little darker sounding than the later TAM 21

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1138843-dynacord-flangers-tam-19-vs-tam-21-a.html

was build (like the 145) as a more afforable (yet still very expensive) alternative to the 250 and 251. 13bit converters. Contains the 250 algorithm! But reverb only and no pre-delay

See also:

• https://www.gearslutz.com/board/high-end/179882-emt-244-reverb-any-good.html

Early Korg outboard effect, analog delay with echo and swell effect. True, it's not really rack format, nor is it digital...

from GearSpace:

Unveiled at the AES Show in 1978, the Lexicon 224 was not the first digital reverb (that honor goes to EMT’s 250), but the 224 (and its 224X and 224XL cousins) was the most ubiquitous and popular high-end studio reverb in history.

The Lexicon 224 is an early digital reverb that was well known for its spacey, extra long decays. Vangelis was an early pioneer of the extra long decays using this unit, most famously in the Blade Runner soundtrack.

The reverb was conceived when Dr. David Griesinger, a nuclear physicist/musician/classical recording engineer, started working on a digital solution to reverb. Seeing EMT’s 250 encouraged him to merge a microcomputer with his reverb design.

He pitched his rough prototype to Lexicon, which bought the invention and brought Griesinger on board to help refine the product. One of Griesinger’s concepts for the new reverb was creating a separate control unit for parameter adjustment and program access.

The 224 reverberation system had a console-top controller with a four-rackspace brain, two inputs, four outputs and interchangeable programs to simulate chambers, plates and rooms. The 224 was “affordable” – meaning $7,500 with two programs or $7,900 with four programs.

But at half the price of EMT’s 250, the 224 was a hit. Eventually, the 224 evolved into the improved 224X and 224XL, which included the LARC (Lexicon Alphanumeric Remote Control), offering fingertip access to programs and parameters, dedicated function keys and a 24-character LED.

The Lexicon 224 used a fixed point processor, with a 16-bit word size. It was designed in the late 1970s using the best technology available, which at the time was the 8080 microprocessor, 12-bit converters (using DAC80 DAC IC), input transformers, and bucketloads of 74S/LS-series logic.

Although the converters themselves are 12-bit, a clever scaling circuit gives an extra 24dB of headroom by actively shifting the input gain. This gives a 16-bit conversion range overall, though precision is still only 12-bit.

Specifications

Released: 1979

Quantization: 12 bit

THD: 0.05%

famous for

gracing thousants of albums

special features

See also:

• https://www.gearslutz.com/gear/lexicon/224

from http://musicfrombigego.com :

The Lexicon Prime Time Model 93 is a digital delay rack effect unit released in 1978. It is capable of delivering completely unique and singular sounds.

The Prime Time 93 is a mono delay line with two inputs and two independent taps. You can invert either signal, mix their levels, and bypass the delay completely with the front panel switches.

There are a few special features that really make the Prime Time 93 a secret sonic weapon for people Daniel Lanois. Because of the technological limitations present in 1978, the Prime Time 93 (not to be confused with the subsequent “95” and “97” models) must reduce the bandwidth of any delay longer than 256ms; and that’s with the optional memory expansion installed.

From the owners manual:

“The indicated delay settings can be multiplied by factors of 2, 4, and 8 with the delay multiply switch to achieve delay times up to 128 msec X 8 = 1.024 seconds (or 256 msec x 8 = 2.048 seconds). The 1, 2, 4, and 8 positions also program the system bandwidth so that the 12 khz bandwidth (available at 1 x position) becomes 6khz at the 2 x position, 3khz at the 4 x position, and 1.5khz at the 8 x position.”

Basically, the longer the delay, the more lo-fi the output since you’re cutting out bandwidth. Just to give you an example, a telephone line operates at 3khz bandwidth. The same as when you’re using the 4 x delay multiply. Combine tone mangling delay with an oscillator and infinite repeat and you’re off to the races.

Lastly, there seems to be some confusion online about the Prime Time 93’s VCO. I heard it referred to as an LFO in one video and that didn’t sound right to me. I contacted Gary Hall, creator of the Lexicon PCM42 digital delay, who worked for Lexicon at the time the Prime Time 93 was in production. Here’s what Gary had to say:

“Actually, the Prime Time has both an LFO and a VCO. Internally, the digital circuits are all run by a clock at ultrasonic rates. In the fixed delay mode, the clock is a crystal oscillator. When you click the knob to ‘UnCal’, the clock is taken over by a Voltage-Controlled Oscillator running at similar high speed which you can change with the manual sweep or with the LFO.

The clock oscillator itself is a true VCO, however it’s not in audible range (I don’t have numbers in front of me, but it’s dog-whistle territory). It’s also linear-response only. No effort was made to have it conform to synth specs. So, VCO modulated by LFO and/or manual offset.”

Famous for:

Documents:

• Lexicon\model 93 Prime Time\LexiconPrimeTime93OwnersManual
• Lexicon\model 93 Prime Time\LexiconPrimeTime93ServiceManual

See also:

• http://musicfrombigego.com/lexicon-prime-time-93
• https://www.gearslutz.com/board/high-end/37645-lexicon-prime-time-93-ver-lexicon-prime-time-ii-95-a.html
• https://www.gearslutz.com/board/electronic-music-instruments-and-electronic-music-production/923024-lexicon-primetime-cult-users-thread-m93-95-97-a.html

Ursa Major's first product, released within a year form their startup. It's a BBD multitab design, with smart randomization, allowing for relatively long decay times.

This page is still under construction, please be patient for more info :-)

Documents:

• Ursa Major\1978 SST-282\Space_Station_Service_Manual
• Ursa Major\1978 SST-282\UrsaMajor SST-282_SpaceStation_Manual

stereo version of the DMX 15-80

from gearspace.com:

The AMS DMX 15-80S is a true stereo microprocessor controlled digital delay line. Originally designed to meet specifications laid down by the British Broadcasting Corporation for equipment to be supplied to them, it offers two completely independently delayed channels with precisely controlled delay times. The delay times are adjustable without any sacrifice in the 18kHz bandwidth which remains constant irrespective of the amount of decay selected. A total delay of over thirty two seconds is possible with this unit, plot over the two channels.

The design of the AMS DMX 15-80S is highly modular, allowing incorporation of new technologies and techniques; thus the system will not be rendered obsolescent as developments take place. The design employs effective 15 bit digital encoding, achieved by basic 12 bit conversion with three instantaneously sweetened gain ranges of 6dB each. This allows a 90dB dynamic range without the use of analogue compression/expansion techniques with their inherent distortion problems, such as noise breathing.

Memory back up is supplied as standard to ensure that entries to the microprocessor are not lost on power down. Both input and output levels are adjustable to accommodate units sending or requiring non-standard signal levels. An intelligent, glitch splicing pitch change option is available which can be incorporated on either or both channels. It will allow pitch shifting as much as one octave either side of the original frequency.

If the pitch shift option is incorporated, the ‘lock in’ function, which normally just allows indefinite storage and playback of both delay line contents (without deterioration), is transformed into a tape loop editing system. The then ‘locked-in’ audio may also be audio triggered if required.

An ‘add-on’ digital reverberation system is also available. This add-on unit, the DMX15R, is physically the same size as the AMS DMX 15-80S. It provides nine preset programs with an 18kHz bandwidth, 90dB dynamic range and typical distortion of 0.03%. Independent control of variables, such as pre-delay, decay times, high frequency decay profile and low frequency decay profile, is also provided.

Regeneration controls are provided on both channels of the AMS DMX 15-80S and the input may be switched to allow single line input (channel ‘a’ feeds both delay lines). A switch is also provided to allow the outputs to be mixed for special effects.

An important feature of the dmx range is the use of ‘Nudge Buttons’. These buttons when used will cause the delay to sweep up or down in steps of only 25uS making the sweep virtually silent. A facility for switching channel ‘a’ in phase or out of phase with the original and channel ‘b’ is provided. A reset switch is provided for initialising the computer. A computer store clear instruction is also provided.

A flight case is available for the AMS DMX 15-80S if required. Flight cases that accommodate multiple of AMS systems are also available. The unit is engineered to the same high standard as the rest of the dmx range and offers similar microprocessor controlled form panel facilities i.e.. programmability, repeatability and storage capability not available with other forms of data entry, putting the engineer in complete control of the system functions.

The AMS DMX 15-80S is designed as a rack mounting unit 3.5″/2U high and 11″ deep, excluding knobs and connectors. The choice of components and quality of construction are of a high standard and because of the choice of mother board system with plug in circuit boards and ribbon cables, maintenance problems are reduced to a minimum.

There is no doubt that the AMS DMX 15-80S’s small size and rugged construction, coupled with the unquestionable performance characteristics represents the best value in delay line technology available in the world today.

Specifications

Quantization: 12bit

Sampling Frequency: Unknown

Frequency Response: 10Hz-18kHz

Dynamic Range: 90dB

THD: Below 0.035%

Famous for

countless of records

Documents:

• AMS\DMX 15-80s\AMS_DMX15-80S_Man

See also:

• https://www.gearslutz.com/gear/neve/dmx-15-80s
• https://www.vintagedigital.com.au/ams-dmx-15-80s-stereo-digital-delay/

Digital delay with feedback and modulation (?). Actually this came out in 1978, but I put it on 1979 because these EMT units are so rediculously high (this thing is 5U!).

See also:

• https://www.gearslutz.com/board/high-end/179882-emt-244-reverb-any-good.html

One of the classic Chorus effects, along with the TC 1210 and TriChorus

famous users:

See also:

• https://www.vintagedigital.com.au/roland-sdd-320-dimension-d-chorus/

Considered by some to be the best flanger ever made.

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1138843-dynacord-flangers-tam-19-vs-tam-21-a.html

Documents:

• Dynacord\1980 TAM 21\TAM 21 M
• Dynacord\1980 TAM 21\TAM 21 WD

the succesor to the EMT 250

comming soon

Analog Delay 300ms

Documents:

• Yamaha\1980 E1010\E1010E

from gearspace.com:

The AMS RMX 16 digital reverberation system is totally electronic; the sound is completely unaffected by external vibrations or mechanical shocks. Unlike its mechanical counterpart the AMS RMX 16 system does not require special installation. This, together with the large reduction in size, the superior signal to noise performance and the greater bandwidth, gives the AMS RMX 16 significant advantages over old-fashioned mechanical reverberation systems.

With digital reverberation one can simulate mathematically any real environment and also any ‘old fashioned’ artificial reverberant character such as ‘plates’, or ‘springs’. Digital reverberation techniques are the first to offer such sophistication.

The AMS RMX 16 digital reverberation system employs sophisticated micro-programmed parallel processing of 16 bit data offering an 18kHz bandwidth; 90dB dynamic range and 0.03% distortion in delay mode; low power consumption (and therefore cool running); independent control of each program’s fundamental reverberant parameters; alphanumeric program descriptions for ease of use and ‘at a glance’ understanding of how the unit is currently programmed as all data, including the variables (pre-delay, decay time, high frequency decay profile and low frequency decay profile), are continuously displayed on the reverb front panel.

The systems are designed to be simple to operate with nine factory programs simulating different reverberant environments with the ability to control all parameters. Nine use definable settings may be stored within the mainframe and a further ninety within the remove terminal. The user definable settings may be as complex as required. All reverberation parameters whether factory preset programs or user definable settings, are stored in non-volatile RAM and remain intact on power down.

The nine standard programs of the AMS RMX 16 are stored in Erasable Programmable Read Only Memory (EPROM) and can only be altered by physical replacement of these devices. However, additional program storage (Softprogs 10 to 12 on the Mainframe and Softprogs 31 to 33 on the Remote Terminal) is available in the Random Access Memory (RAM) area which can be re-programmed with the use of the Remote Terminal and Bar Code Wand combined option (see appendices D and E for further details).

The unit can also be used as a very high quality, 18kHz bandwidth digital delay line. The delay can be varied from 0 to 1.6s in 1ms increments.

A calculator styled keypad is provided on the front panel of the AMS RMX 16 for entry of user definable variables and for storing or recalling information from the unit’s memory locations.

Both input and output levels of the AMS RMX 16 are adjustable to accommodate units sending or requiring non-standard signal levels. Overflow indication on digital processing is provided as well as the standard ‘traffic signal’ LEDs enabling fine adjustment of input level for optimum signal to noise performance.

When changing basic reverberation programs on the AMS RMX 16, the output is muted so that ‘memory flush-out’ is not output to the audio chain. If the basic program remains the same but the user has stored a number of differing variables in various memory locations, then real time switching from one reverb setting to another can be accomplished.

A useful feature incorporated into the RMX 16 reverberation system is the use of ‘Nudge Buttons’. These buttons increment or decrement data for all selectable functions.

Many new digital reverberation systems offer either rack mounting mainframe units with no facility for remote operation, or hand held remote units with rack mounting mainframes but with no facility for control from the mainframe. The AMS RMX 16 system may be driven from the Mainframe or from a Remote Terminal which may be used ‘hand held’ or fitted into the mixing console.

This ‘Remote’ is a hand held terminal that connects with the mainframe via the standard cable or a stereo jack-field if required; the path, however, must not contain a transformer. All functions on the Mainframe are available on the Remote and the display of variable parameters will be echoed on the Remote’s liquid crystal display. Ninety non-volatile memory locations for these parameters are available when using this terminal. So with the use of the Remote Terminal not only are the fundamental programs retained on power-down, but up to ninety nine personal reverberation patterns may be stored without loss.

A Remote once programmed with ninety memories may be removed and interfaced to any other AMS reverberation system. All AMS reverberation systems are compatible and once a sound has been found and the parameters stored within the unit it may be regenerated on any RMX 16 system anywhere in the world.

The Remote Terminal option, if purchased in combination with the Bar Code Wand Option, not only provides simple effective remote operation, but also increases the power of the AMS RMX 16 to store programs. With the purchase of this option three ‘Soft Program’ stores on the main-frame and four ‘Soft Program’ stores within the remote are immediately available. These ‘Soft-prog’ stores must not be confused with the parameter stores described earlier and already available on the remote; they are much more powerful. The ‘parameter’ stores only contain user settings of already existing programs. The ‘Softprog’ stores contain actual programs, each of which can be manipulated, transferred from remote to mainframe and from mainframe to remote.

The ‘Softprogs’ are issued as bar coded sheets that are contained within a bar code booklet. A number of bar coded programs are included in the price of this option. Further issues of the bar coded programs are supplied at a nominal charge. In this way eventually a complete library of unique programs can be assembled, any one of which may be loaded into the Remote or the Mainframe as desired.

Both the Remote and the Mainframe are engineered to the same high standard as the rest of AMS Neve equipment and both offer microprocessor controlled programmability, repeatability and storage capability putting the engineer in complete control of every system function. Control of reverberation programs and parameters is contained in EPROM, thereby guaranteeing that the hardware will not become outdated as advances in reverberation techniques occur.

The AMS RMX 16 is designed as a rack mounting unit 3.5” / 2U high and 13” deep, excluding knobs and connectors. A flight case is available as an option if required. The choice of components and quality of construction are of a very high standard and because of the choice of a mother board system with plug in circuit cards and ribbon cables, maintenance problems are reduced to a minimum.

Perhaps one of the most important aspects of the AMS RMX 16 Digital Reverberation System is its ability to withstand the push to obsolescence. The unit is designed for maximum hardware/software flexibility, with a maximum of software control, enabling it to be easily upgraded as new developments take place

Specifications

Released: 1981

Quantization: 18 Bit

Sampling Frequency: Unknown

Frequency Response: 10Hz-18kHz

Dynamic Range: 90dB

THD: Below 0.03%

Famous for

countless of records

See also:

• https://www.gearslutz.com/gear/neve/rmx16-digital-reverberation-system
• https://www.vintagedigital.com.au/ams-rmx-16-digital-reverberation-system/

Dual delay

See also:

• https://www.thegearpage.net/board/index.php?threads/dod-r-880-wow.1807291/
• https://www.youtube.com/watch?v=O9htOohHPkM

Considered by some to be the second best BBD delays ever made (behind Dynacord's SRS-56).

There is also a white-front version of this.

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

Documents:

• Dynacord\1981 VRS 23\Dynacord VRS 23 ServiceManual
• Dynacord\1981 VRS 23\Dynacord VRS 23 in 1985 brochure
• Dynacord\1981 VRS 23\Dynacord VRS 23 wiring diagrams_1
• Dynacord\1981 VRS 23\Dynacord VRS 23 wiring diagrams_2
• Dynacord\1981 VRS 23\Dynacord VRS 23 wiring diagrams_3

Same basic hardware as thr 244. It has pre-delay in addition to the 244. In order to achieve this, the 250 algoritm was downsized....

See also:

• https://www.gearslutz.com/board/high-end/179882-emt-244-reverb-any-good.html

Famous for:

Documents:

• Lexicon\model 95 Prime Time ii\Lexicon PRIMETIME II_M95_service_manual copy
• Lexicon\model 95 Prime Time ii\Lexicon+Primetime+2

See also:

• http://musicfrombigego.com/lexicon-prime-time-93
• https://www.gearslutz.com/board/high-end/37645-lexicon-prime-time-93-ver-lexicon-prime-time-ii-95-a.html

Analog Delay 400ms

Documents:

• Yamaha\1981 E1005\e1005

This is a classic early 80s Flanger / Doubler that uses a combination of both the Reticon SAD512D and the Panasonic MN3005 BBD chips.

See also:

• https://www.youtube.com/watch?v=c522TsSBrTc
• https://www.diystompboxes.com/smfforum/index.php?topic=77281.0

This is definitly the most sought after Korg effectsunit. Made famous by the Edge, many believe this contains the magic sauce of his sound.

comming soon

Famous users:

dual channel digital delay line / pitch changer / sampler

Famous for

countless of records

Documents:

• AMS\S-DMX\AMS s-dmx Manual

flanger

Early Digital Reverb processor utilizing DSP and first effects device to publish its SDK so that 3rd party developers could develop "plug-in" algorithms

famous users:

See also:

• https://www.eventideaudio.com/products/legacy/sp2016

from thesmith.org.uk

They don't make them like this any more

The Lexicon 'Super Prime Time' Model 97 is IMHO the most cosmic and inspiring digital delay ever created. On my first day of using it, it has changed the way I think about echoes. To quote some insightful comments from an eBay auction:

The Lexicon Super Prime Time is a serious classic and it's destined for revival. This box is not just a simple delay for the non-rocket scientist as some may claim but is actually a rich well of complex tonal joy. Like an old Minimoog it is inspiring to use and has real-time easy-to-grab and manipulate controls. Enjoy leading yourself into wonderful sonic landscapes and rich complex loops that would use up all of your left brain on any other box. Forget the TC 2290 with its less than pleasant up and down nudge arrows buttons and under-the-hood controls where the fun is "In The Box". The Super Prime Time has the fun is "On The Box". Just grab and go. A real time roller-coaster of pure audio enjoyment.

Yes, other delays from AMS, TC, Ursa Major, Bel, MXR, Roland and others may be nice, but the SPT is the most musical. I also own the TC D2, a very fine modern unit which extends the features of the 2290, but like the 2290 isn't as hands-on in use as the SPT, with all those faders and knobs on the front panel allowing realtime level mixing of the various delay ins+outs. Front panel settings can be saved in 32 memories. It has funky LED displays. There are two balanced inputs and separate Delay A/B outputs for ping pong panning madness; I use the Aux Input from a console Aux send, and feed the Main Input from a DAW bus output. Despite being made in 1982 (according to the manual), the bandwidth is a full 20kHz even at 1920ms delay time (mine has the 97/MEO Memory Expansion Option upgrading from the standard 480/960ms). It does everything you could want, even through-zero flanging if you have two SPTs! It doesn't have a cooling fan like the equally stunning Model 200 reverb (or the classic 480L for that matter); that is the only thing that's stopped me getting one of those beauties, as well as the fact that their front panels, while similar, are hardly lined up to look good together. Lexicon, like many companies, knew how to make gear look good back then (and so it should, since it cost ££££s!). Sadly no longer...

Famous for:

See also:

• https://www.thesmith.org.uk/music/studio/gear/lexicon/superprimetime.html
• https://www.gearslutz.com/board/high-end/734685-lexicon-primetime-ii-model-95-info.html

The R1000 is Yamaha's first real entry into the market of digital reverberators. In 1983 analog reverbs such as springs and plates were still cheaper than digital machines, but didn't offer much customization at the lower end of the market. But this unit finally promised customizable digital echo at an affordable price (Roland presented a similar device in 1983, the SDE-2000, which was slightly more expensive).

Four reverberation modes can be selected, with decay times of 1.55, 1.62, 2.3 and 2.4 seconds. Not many more features other than a parametric EQ. Considering the low prices of professional reverb modules such as the REV7 or REV5, the R1000 wouldn't be a good choice if you're looking for an 80s digital reverb. But in 1983 it basically had no competition at that price.

Interestingly, Yamaha chose to adopt the light yellow colour scheme used in previous effects for the prints instead of adopting the new digital model started in the same year with the DX7.

See also:

• https://yamahablackboxes.com/collection/yamaha-r1000-digital-reverb/

DOD Flanger/chorus/Doubler/echo unit with 1900ms delay and modulation. Has some stiking visual simularities to the KORG SDD-3000.

See also:

• http://www.muzines.co.uk/articles/dod-cutec-delays/8534

12-bit (ported 14-bit, hance the name) mono delay with 8 memory slots. The 'M' version is for 8 extra memory slots

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

Documents:

• Dynacord\1984 PDD 14\dynacord PDD14 manual

Digital delay 16 bit 10 seconds. The year is a quass on this one... if anybody knows the exact date, please let me know!

The Lexicon PCM 60 Digital Reverberator is a high-performance, low-cost digital reverb designed to be used with a wide range of instruments, stage equipment, and studio mixers. It incorporates the most advanced digital audio processing circuitry available lor clean sound and extremely high-quallty reverberation.

The Lexicon PCM 60’s controls are easy to use, offering flexible operation and a logical layout. Front-panel LEDs light to indicate selected functions, and a five-segment headroom indicator has been included for precise input level monitoring.

The Lexicon PCM 60 features two main reverb programs: Room and Plate. From these two programs, you can tailor reverberation characteristics on the basis of size, reverb time, and bass and treble contouring, producing a wide variety of distinct reverberation effects. Rotary knobs are used to set input gain, reverb mix, and output level. A Bypass mode switch with optional foot pedal control is included; the unit is automatically placed in Bypass mode when switched off.

For compatibility with the widest range or peripheral audio equipment, the Lexicon PCM 60 has a balanced/unbalanced audio input (mono in), two unbalanced (single-ended) audio outputs (stereo out), and an effects loop – all using standard 1/4in, phone jacks. Input and output sensitivity select push-buttons on the rear panel can be set for high or low-level inputs and high or low-level outputs.

This product is the result of years of study and development, its design incorporates suggestions from knowledgeable users and reflects Lexicons long experience in providing superior digital audio equipment to the professional. Every effort has gone into making the Lexicon PCM 60 perform to the highest industry standards.

Specifications

Released: 1984

Quantization: Unknown

Sampling Frequency: Unknown

Frequency Response: 20Hz-10kHz

Dynamic Range: 80dB

THD: 0.05%

Documents:

• Lexicon\PCM60\PCM60_Owners_Manual

See also:

• https://lexiconpro.com/en/products/pcm70
• https://www.vintagedigital.com.au/lexicon-pcm-70-digital-effects-processor/

The first delay unit with midi.

The Yamaha D1500 is a digital delay system with a time range of 0 to 1023 milliseconds in 1 millisecond increments, with full 20Hz to 18kHz frequency response throughout the delay range. It was the first commercially available digital delay with a MIDI interface and follows the success of the R1000 digital reverb.

Any of the D1500's 16 programmable memory banks can be selected remotely from a MIDI instrument. This allows specific delay effects to be assigned to particular instrument voices. The appropriate delays are then recalled automatically as each voice is selected.

For non-MIDI equipment, programmed delays can be recalled simply by selecting the appropriate bank – either manually or by footswitch.

See also:

• https://yamahablackboxes.com/collection/yamaha-d1500-digital-delay/

High end reverb, meant for studio use only.

Profession delay line with 4 inputs and 8 outputs

Build as the succesor to the 251. Top of the line reverborator, delay. echo and chorus.

See also:

• https://www.gearslutz.com/board/high-end/179882-emt-244-reverb-any-good.html

Successor to the H949 and the last Eventide processor without a microproeccor. This unit is rather rare, as within 2 years of it's release it was followed up by the H3000, which far surpassed this units possibilites

See also:

• https://www.eventideaudio.com/products/clockworks-legacy/harmonizer/h969-harmonizer
• http://www.analoguediehard.com/studio/effects/eventide_harmonizer-h969/index.html

Follow-up to Lexicon's 224, with new converters and more presets. De LARC is blue with these. (later 224XL version has a 480 type of LARC)

famous for

gracing thousants of albums

special features

Documents:

• Lexicon\224x digital reverborator\Lexicon-224X-Service-Manual
• Lexicon\224x digital reverborator\Lexicon-224X-owner-manual

See also:

• https://www.vintagedigital.com.au/lexicon-224x-digital-reverberator/

Lexicon's first multieffects units with a wide variaty of effects and extensive MIDI-contol

Famous for:

Gracing thousants of records, Diffused and Circular delays used by Steve Lukather en David Gilmour

Documents:

• Lexicon\PCM70\Lexicon PCM70-OM

See also:

• https://lexiconpro.com/en/products/pcm70
• https://www.vintagedigital.com.au/lexicon-pcm-70-digital-effects-processor/

The starting product by Alesis, clearly adhering to Keith Barr's ambition of bringing technilogically advanced products into the realm of most project studios

BOSS RDD10

microrack digital delay with modulation and tonecontrol

BOSS RPH10

microrack phaser with 3 modes

BOSS RRV10

microrack digital reverb with room, hall, plate, multitab and gated reverb algoritms

BOSS RBF10

microrack flanger

first of the SDE delays to feature midi

one of the 3 magical choruses, very wide and pristine sounding

famous users:

Dan Huff, Alex Lifeson, Andy Summers, Michael Hedges, David Gilmour, Phil Collen, Steve Lukather

See also:

• https://www.tc2290.com/
• http://www.italodeangelis.com/it/eventide_and_other_stuff/tc_electronic_tc2290.asp

Industy standard

famous users:

The Edge

Documents:

• TC Electronic\1985 2290\2290_0144
• TC Electronic\1985 2290\2290_cutsheet
• TC Electronic\1985 2290\2290_option_manual
• TC Electronic\1985 2290\2290_owners_manual
• TC Electronic\1985 2290\2290_remote_switch
• TC Electronic\1985 2290\2290_spec_no
• TC Electronic\1985 2290\2290_sysex
• TC Electronic\1985 2290\schematics

See also:

• https://www.tc2290.com/
• http://www.italodeangelis.com/it/eventide_and_other_stuff/tc_electronic_tc2290.asp

DOD multi-effects unit with distortion, Chorus/Flanger. delay and a parametric EQ section. One of the first multieffects units. Not cheap at 700 pounds in 86'...

See also:

• http://www.muzines.co.uk/articles/dods-crack-rack/7152

Build as the succesor to the 244 and 245. It has a new algoritm for reverb, but contains the 250 reverb as a special program, next to the delay, echo, tabs and non-leniar

See also:

• https://www.gearslutz.com/board/high-end/179882-emt-244-reverb-any-good.html

the pinnacle of multi effects.

This is the absolute hightlight of the evolution of digital effects units. This thing made a major impact upon release. It has an unbelievably thick sound and some algorithms to die for.

famous users:

Eddie van Halen, Michael Landau, Steve Vai, The Edge, Richie Sambora and Brian Eno

See also:

• https://reverb.com/news/tech-behind-eventide-h3000-ultra-harmonizer

Documents:

• Korg\sdd-1200\SDD1200_OM_E1

This is one of the stranger offerings of any digital delay machine.

The SDD-3300 is a programmable triple digital delay with 64 memory slots and MIDI In, Thru, and Out. It has a 2x40 LCD screen, menu page buttons, and six sliders for editing the sounds. The delays can go from 0.5 to 500 milliseconds at 16Khz bandwidth and you can apply 12dB lowpass and/or highpass filtering to the feedback path. If you chain the three in series you can get 1.5 seconds of delay. The delay resolution varies depending on the range you're in; the longer the delay, the more coarse the resolution.

The SPX90 was a real game changer, as it was the first afforable multi-effectsunit, retailing at 599,- london pounds (roughly 850,- dollars?)

See also:

• http://www.muzines.co.uk/articles/yamaha-spx90/1392

Time compression / expansion unit

Claimed by Digitech to be the world's fist (digital) multi-effects unit (as in multiple effects at the same time), but I prefer to think of Rolands the DEP-5 as being that. None the less this was a very early, very cost-effective procesor with a relatively clean tone.

Digital delay in the first RDS-serries with 1,9sec. delay time

Digital delay in the first RDS-serries with 2sec. delay time + a sampling function

Digital delay in the first RDS-serries with 3,6sec. delay time

the S (studio) version of the H3000 adds the Steve Vai presets tot the origional H3000

famous users:

Steve Vai

See also:

• https://reverb.com/news/tech-behind-eventide-h3000-ultra-harmonizer

Digital delay in the first RDS-serries with 7,6sec. delay time

Links: http://www.loopers-delight.com/tools/timemachine/timemachine_7_6.html

Digital delay in the first RDS-serries with 3,6sec. delay time

Updated version of the DSP 128.

See also:

• http://www.muzines.co.uk/articles/digitech-dsp-128-plus/75
• http://www.muzines.co.uk/articles/digitech-dsp-128-plus/4536

the D/SX is the 'musician's version' of the H3000. Has all H3000S algorithms and Patch Factory, Multi-Shift, Mod Factory One and Mod Factory Two.

famous users:

Steve Vai

See also:

• https://reverb.com/news/tech-behind-eventide-h3000-ultra-harmonizer

The 480l Effects System has been the standard by which all other signal processors are measured. The 480L remains a clear product of choice among top producers for the most discerning clients

The most realistic reverb available and stunning effects that maintain the harmonic integrity of the incoming signal through to the output.

The 480L Digital Effects System embodies Lexicon's relentless pursuit of the state-of-the-art. Top producers and engineers the world over rely upon its extensive sonic capabilities and processing power. Since its inception, the 480L has been used on more gold and platinum recordings, as well as top-grossing film soundtracks, than any other system of its kind. Moreover, Lexicon processing is used by over 80% of all record companies for mixing and mastering.

FEATURES:

Modular multi-machine architecture- Capable of simultaneous usage by two LARCs (Lexicon Alphanumeric Remote Control) sharing a single mainframe.

The most realistic reverb available and stunning effects that maintain the harmonic integrity of the incoming signal through to the output.

With resident software, the 480L has 21 Banks of 10 Presets each

containing the widest variety available of premier quality algorithms, including the classic 480 Halls, and Rooms, Brick Wall, Silica Beads,and 40 Voice Effects (like the classic Vocal Whispers), Digital Compression, Stereo Adjust mastering, 3 second stereo or 6 second mono Sampler, Prime Time III, Mix Finish, Doppler and Pitch Effects, Plates, Random Halls, Rooms and Ambience (the smallest room size now extends down to 2 square meters).

The optional Classic Cart provides the sought after sounds of Lexicon's 224XL, including the Concert Hall, Rich Plate, 6-Voice Chorus and Multiband Delays algorithms.

2-in/4-out stereo processing, the 480 is capable of running two uncompromised stereo programs in Cascade or two mono in/stereo out in the Split Modes

The pervasive and powerful LARC (Lexicon Alphanumeric Remote

Control) is standard, enabling the mainframe to be located in a machine room.

Full Dynamic MIDI implementation allows for simple program change

messages or automated effects when using a SysEx recording device.

MIDI Bulk Dumps provide instant recall via consoles capable of SysEx

automation.

famous for

gracing thousants of albums

special features

Documents:

• Lexicon\480l\480L_V4_QRG_Rev1

See also:

• https://www.vintagedigital.com.au/lexicon-480l-digital-effects-system/

2nd incarnation of the MidVerb, now with some editable parameters. Still loved for the Bloom preset and some others.

See also:

• https://www.vintagedigital.com.au/alesis-midiverb-ii-digital-effects-processor/

Multieffects unit with flexible routing, allowing 4 effects simulainious in differect routings

famous users:

See also:

• http://quadraverb.nl/qv-20k.htm

Documents:

• Roland\1988 R-880\Roland R-880_OM

Digitechs anwer to Eventide H3000's diatonic pitchshifter. Considerably more avordable, yet still around $900 back in the day. The machine is not budget however! It is still prevered by some over the H3000 for it's shifting. And also the detune has a nice ring to it.

This unit has an 'effectsloop' with the aim of tapping the pitchtracking straight from the source and than processing the distorted/effected signal. Smart thinking of the Digitech people.

Links: https://www.youtube.com/watch?v=_6O0G8TMK7g

http://www.muzines.co.uk/articles/digitech-ips33-smartshift/114

http://www.muzines.co.uk/articles/digitech-smartshift/4551

a digital reverb and multieffectsprocessor, party designed by Lexicon. Consered to be sonically close to the PCM70. Especially loved for the Cathedral preset, which can have incedibly long decay times and sounds fantastic.

There is also a white-front version of this.

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

https://www.amazona.de/zeitmaschine-dynacord-drp-20-hall-effektgeraet-1989/

Documents:

• Dynacord\1989 DPR 20\Dynacord DRP 20 X manual
• Dynacord\1989 DPR 20\Dynacord DRP 20 service manual

a digital reverb and multieffectsprocessor.

This site is still under construction: More info to be added at a later stage. Please read the manual and/or links below for now.

Documents:

• Dynacord\1990 DRP 15\Dynacord DPR 15

See also:

• https://www.adventures-in-audio.com/dynacord-drp-15-high-quality-reverb-processor-part-1

the SE (studio enhansed) version of the H3000 added Vocoder, Band Delays, Instant Phaser, String Modeler, new Dense Reverb and MultiShift pitch shift algorithms. Brian Eno loved the H3000SE so much that he even sent a letter to the team calling it “the best-designed piece and most enjoyable piece of equipment [he’s] ever owned.

famous users:

Steve Vai

See also:

• https://reverb.com/news/tech-behind-eventide-h3000-ultra-harmonizer

The second incarnation of Digitech's Smart Shifters, now marketed ad Super Harmony Machine. This one adds quite a few bells and whistles and was long used by Joe Satriani and The Edge. What still setts this appart form the later IPS-55 and the ultimate Studio-5000 is it's Appegiator options and faster switching, as all functionality is rolled in to one big algorithm.

Links:

3nd incarnation of the MidVerb, now with up to 4 effects simulatainious.

See also:

• https://www.vintagedigital.com.au/alesis-midiverb-iii/

The SE-50 is a multi effects unit. It was released 1990 and was in production until the SE-70 was released 1993. The unit is equippped with a 16 bit DA/AD converter and uses a sampling frequency of 32kHz or 48kHz depending upon the chosen effect. The SE-50 has both stereo in and out, is fully MIDI compatible and its 100 user presets can be stored externally using the MIDI interface.

The SE-50 has 28 built-in algorithms. An algorithm is a predefined combination of effects. Several of the 28 algorithms are single effect algorithms so thought it may sound like the SE-50 can combine effects in many ways, this isn’t absolutely true. Guitar players may be interested to know that the only algorithm capable of producing distortion is Guitar Multi and the only settings for the overdrive/distortion is level/drive and turbo on/off. The unit is very much focused on reverb where 9 of the 28 algorithms are reverb only algorithms.

Digital delay in the second RDS-serries with 1sec. delay time + sampling

Documents:

• DOD Digitech\1991 RDS-1000\Digitech RDS-1000-8000

Digital delay in the second RDS-serries with 2sec. delay time + sampling

Documents:

• DOD Digitech\1991 RDS-2000\Digitech RDS-1000-8000

Digital delay in the second RDS-serries with 4sec. delay time

Documents:

• DOD Digitech\1991 RDS-4000\Digitech RDS-1000-8000

Digital delay in the second RDS-serries with 8sec. delay time

Documents:

• DOD Digitech\1991 RDS-8000\Digitech RDS-1000-8000

Final reverb unit after EMT had been taken over by Barco. There are diffent versions, stereo and double stereo.

Korg's top of the line effects offering 1991, released together with the A2 (less possibility, much simpler converters) after the succes of the A3 (1988).

The A1 is a semi-modular effects processor, with 56 effects that can be (relatively) freely placed on 46 different chains (series/dual/parallel). And the effects can be used as many times simultaneously as the chains allow (for example 6x delay or 4x bi-chorus or 2x reverb in a chain at the same time)

Unique features even now:

- a 5-tap chorus with individual phase, pan and depth (of which multiple instances can be placed at the same time...)

- the possibility to place 3 bi-mod chorussus at the same time (TriStereo Chorus emumations!!!)

other good stuff:

- many ways to create deeeep chorussing

- detune in many configurations, also in the delay-feedback-path

- the reverb, the rotary, the auto-wah are likable

multieffectsunit with 4 effectslots that can be routed in different ways

See also:

• https://www.vintagedigital.com.au/ensoniq-dp4-parallel-effects-processor/

The H3000D/SE is the ultimate version. It has all D/SX algorithms, plus S t u t t e r, Dense Room, Vocoder, Band Delay, String Simulator and Phaser.

famous users:

Steve Vai

See also:

• https://reverb.com/news/tech-behind-eventide-h3000-ultra-harmonizer

Digitechs' second generation diatonic pitchshifter, adding a lot of functionality, but loosing the IPS-33's appagiator. Canbe upgraded toa Studio 5000.

Links:

Documents:

• DOD Digitech\1993 DHP-55\digitech dhp55

Digitech's big hit of the nighties. Hybrid tube preamp and digital effects, famously used by Steve Vai (probably only as an effects processor?). The preamp is quite horrible, but the effectssection is great.

Most spectecular funtion is the abbility to create ones own algoritms with mixers and splitters. Has great chorussing and good delay. The pitchshiting is not great, but does work relativly good on polyphonic material. Is said to be much like the original whammy.

These early models have bad responce to the footcontroller, but can be upgraded with a faster processor and an extra S-disk.

Links: http://www.tube-tester.com/sites/gsp2101/sites/gsp2101main.htm

Documents:

• DOD Digitech\1993 GSP-2101\digitech GSP2101 Artist manual

Basically the 1u-studio version of the 2101, but without the preamp-section and... the harminozer... does have the great delays, chorusing and the abbility to create your own algoritms

Links: http://www.tube-tester.com/sites/tsr24/tsr24-main.htm

The SE-70 is a stereo multieffects processor in half rack format. It builds on the previous model, SE-50, and adds more effects and more algorithms for creating the sound. Where the SE-50 had 28 algorithms and 19 effects, the SE-70 has 45 algorithms and 35 effects. Admittedly, Boss stretches their claim quite far when we see what they list as effects. The SE-70 has, just as the SE-50, 100 memory locations for storing user settings.

The SPX990 is the 6th and forelast incarnation of the SPX serries. It's full stereo and of much higher fidelity as it's predecessors. Only downside is the lack of a volume per preset, which can be anoying.

See also:

• https://rapmag.com/a/271-93/jun93/1029-test-drive-the-yamaha-spx-990-digital-multi-effects-processor

Some argue this is better then the DHP-55 because it says IVL at the front, which are the makers of the origional Whammy chip...

Links:

Medium version of the TRS-24.

Documents:

• DOD Digitech\1994 TRS-12\Digitech_tsr12

The Eventide Orville is a programmable, multichannel, multipurpose, dual digital signal processor (DSP), 24 bit digital audio signal processor with UltraShifter™ capability.

That’s a lot of adjectives! It is the successor to a long, proud line of digital signal processors that stretches back to a time when most audio manufacturers didn’t know digital audio from Morse code.

Features

Orville is loaded with features that put it in a class by itself. It has four analog inputs, four analog outputs, four digital inputs, and four digital outputs that can all be used simultaneously. Routing among them is completely flexible (“anything to anything”)! What’s more, Orville houses two independent signal processors, each having four inputs and four outputs (imaginatively dubbed “DSP A” and “DSP B”). The two processors can be run in parallel, in series, or in any mutant variation thereof.

The variety and depth of the programs that run on the DSPs are truly amazing, from lush reverbs, to choruses, to flanges, to delays, to pitch shifters, to dynamics, to EQs, to filters, to distortions, to synthesizers, to samplers, to ring modulators, and everything in-between.

Most frequency and time-dependent parameters (e.g. delays, LFO's) synchronize to a system tempo for ease of use. And if that’s not enough, DSP A boasts nearly three minutes of sample time in addition to the 40 seconds of delay time found on both DSP A and DSP B! And for the user who is interested in making his or her own programs (if the huge number of factory programs aren’t enough!), Orville continues the “modular programming paradigm” that made the DSP4000 famous.

Programs are composed of individual building blocks, or “modules,” that allow the user to create original programs. Inspiration and creativity are given no bounds.

See also:

• https://www.eventideaudio.com/products/rackmount/harmonizer/dsp4000
• http://www.italodeangelis.com/it/eventide_and_other_stuff/eventide-DSP4000.asp
• http://www.loopers-delight.com/tools/eventide/dsp4000.html
• https://www.recordproduction.com/Eventide%20DSP%204500.htm

Follow up to the PCM70, but full stereo and dual Lexi-chips. 10 Very extensive algorithms, and more on the Dual FX and Pitch cards.

Famous for:

David Torn

Documents:

• Lexicon\PCM80\Lexicon PCM80_Presets_Rev1
• Lexicon\PCM80\Lexicon PCM80_User_Guide_Rev1

See also:

• https://lexiconpro.com/en/products/pcm80
• https://www.vintagedigital.com.au/lexicon-pcm-80-digital-effects-processor/
• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon_pcm_80-81-91.asp
• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon_pcm_80-81-91_2.asp
• https://www.gearslutz.com/board/so-much-gear-so-little-time/1319131-lexicon-pcm-80-81-cards-cult-users-thread.html

A complete overhall of the QuadraVerb with a very flexible routing system and (processor permitting) up to 8 effectslots.

See also:

• https://www.vintagedigital.com.au/alesis-quadraverb-2/

a special unit, in that it is thought of as a flexible mainframe for both effects and different types of converters. Contains real modulated delay (only the 2290 and this have this, all other TC processors use chorus in the feedbackloop) and a 1210 like chorus.

Documents:

• TC Electronic\1994 M5000\tc electronic M5000 manual

A singular comeback of DOD in rackformat. Perhaps inspired by the succes of the GSP 2101, it's another hybrid of pre-amp and digital effectsprocessor. Seems a very limited machine from what I can read.

Links: https://music-electronics-forum.com/forum/effectification/guitar-effects/15533-dod-g7-different-versions

Documents:

• DOD Digitech\1995 DOD G7\DOD g7

Felxible semi-modular multi-effectsunit with 2 asignable LFO's and dynamic modulation.

updated version of the TRS-24, with a doube S-disk and double the clockspeed.

Links: http://www.tube-tester.com/sites/tsr24/tsr24-main.htm

scaled down version of the DP/4+

See also:

• https://www.vintagedigital.com.au/ensoniq-dp2-parallel-effects-processor/

updated version of the DP/4

See also:

• https://www.vintagedigital.com.au/ensoniq-dp4-parallel-effects-processor/

4th and final incarnation of the MidVerb, running at 24bit processing with 18bit converters an sporting a large screen.

See also:

• https://www.vintagedigital.com.au/alesis-midiverb-iii/

Digitech's update to the 1993 2101. Hybrid tube preamp and digital effects, the preamp is quite horrible, but the effectssection is great.

Most spectecular funtion is the abbility to create ones own algoritms with mixers and splitters. Has great chorussing and good delay. The pitchshiting is not great, but does work relativly good on polyphonic material. Is said to be much like the original whammy.

Can be upgraded with an extra S-disk. allowing for bigger algoritms.

Links: http://www.tube-tester.com/sites/gsp2101/sites/gsp2101main.htm

Documents:

• DOD Digitech\1995 GSP-2101 ARTIST\digitech GSP2101 Artist manual

Scaled down, budget version of the TRS-24. See the S.O.S. interview linked below.

Semi-modular effectsprocessor with 2 Lexichips. One for effects and one for reverb. Designed bij Bob Sellon, who has a great website with lot's of information.

from Italo d'Angelo's website:

In 1996 Lexicon designed a new multi-fx machine as a modular architecture for the first time in its history, moving away from the multi-voice fx paradigm of the 224XL>PCM70>PCM/81. Several fx blocks, each containing a library of specific fx, can be inserted and routed to create the final algorithm a preset will be based on. The 2 DSPs work on different task: an ADSP2100 chip takes care of the fx while the custom made Lexichip2 is dedicated to classic Lexicon reverbs. No matter what you use as fx, a reverb will always be available if you need it.

The fx engine is somehow underpowered and you can't really insert several fx at the same time. Pitch and Chorus fx can't be used together as an example. The later MPX-G2 solved the problem with a more powerful chip for the fx section. Nevertheless the MPX1 can calculate some very interesting effects, often with an analog-like texture in the modulation dept.. Thanks to the neat trick of delays feedback path insertion, any effect can be placed within the delays feedback; something only available on extremely expensive products. This feature is the most desired way to create spectacular processed delays, inserting chorus or filters or detuners or a combination of them. The fx have their own sound and structures while the reverbs come from the legendary PCM80, even though in a reduced parameters allowance, avoiding competition with the higher end PCM line.

The MPX-1 offers a long list of great features: Tap Tempo, full MIDI implementation, a MIDI Arpeggiator, a spectacular section of modulation sources to add life to your effects, S/Pdif digital I/O, Tap Tempo, pedal and footswitches inputs, true stereo I/O w/balanced wiring and remote power for a MIDI pedalboard thru the MIDI IN connector."

Special features:

has the abbility to put any effectsblock in the feedbackpatch of the delay. Has extensive patching system with 2 richly features assignable LFO's. Great Lexicon 300-like reverbs can be programmed

Documents:

• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_QuickRev_Rev1
• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_User_Guide_Rev1
• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_User_Guide_Rev2_original
• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_V1_1_Adden_Rev1_original
• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_V1_1_MIDI_Impl_Rev1_original
• Lexicon\1996 MPX1 Multiple Processor FX\MPX1_V1_1_Presets_Rev1_original

See also:

• https://lexiconpro.com/en/products/mpx1
• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon-MPX-1.asp
• https://www.stecrecords.com/?RecordId=6

dual effects engine with multiple routing options. Still available in 2021 (!). Was updated to a 24bit version somewhere along the way. Not very special, but a great workhorse.

follow-up to the DP/4+ but with higher fidelity aimed at the pro-market. Amongst the new features are assignable LFO's and the abbility to use one effect in the feedbackloop of the other.

See also:

• https://www.vintagedigital.com.au/ensoniq-dp2-parallel-effects-processor/

Multitab delay with 8 tabs and additional pre-delay. Good envelope follower and 1 extensive LFO

Special features

sound very close to the TC electronic 2290, but with a much richer feature-set

Documents:

• Korg\DL8000R\DL8000R_midi implementation
• Korg\DL8000R\Korg-DL8000R-Manual

See also:

• https://www.soundonsound.com/reviews/korg-dl8000r
• http://www.italodeangelis.com/it/eventide_and_other_stuff/korg_dl8000r.asp
• http://www.loopers-delight.com/tools/korgDL8000R/korgDL8000R.html

From italodeangelis.com:

Lexicon reverb at its best! Meet the Lexicon 300 Digital Effects System, the 480 sister processor.

Its Random Hall and Rich Plate reverbs are stunning. You can process a full mix thru them and get ambience glory and tone for ages. This is milestone reference you should use to judge anything out there. Great delay, diffusion and modulation effects, and a nice mastering algorithm too. This unit offers single machine and Split machines configurations, thanks to the two on board Lexichips. Single machine mode uses the whole power for spectacular reverbs, Split machines can run two different presets (or two instances of the same preset) in mono series or stereo cascading.

The 300 is truly a sonic legend you've heard on many recordings and in video productions. Its warm and huge sound is what people look for when making choices for depth, space, beauty. The 300 belongs to the elite of Lexicon masterpieces, the 200/224/480 legacy. Contact me for any special programming on this unit.

famous for

gracing thousants of albums

special features

Documents:

• Lexicon\300\300_V3_MIDI_Implmt_Rev0
• Lexicon\300\300_V3_Owners_Mnl_Rev2
• Lexicon\300\300_V3_QRG_Rev1

See also:

• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon-300.asp
• https://lexiconpro.com/en/products/m300

From Gearspace.com:

Lexicon 960L is a configurable Stereo/Surround Reverb Processor and Flying Fader Remote. (LARC)

For nearly thirty years, the world’s most accomplished engineers and producers have relied upon Lexicon for their most critical music and sound productions. To satisfy these discriminating media professionals and to meet the new demands of today’s increasingly complex sound content, Lexicon introduces a new generation of digital audio signal processing technology with the new Lexicon 960L Multi-Channel Digital Effects System.

Designed specifically for the professional audio, broadcasting, film, post-production and live sound markets, the 960L utilizes a bold new technology platform. it will redefine world-class reverberation with a totally new paradigm of intelligent software algorithms based upon 3DPM™ Technology (3D Perceptual Modeling).

This new breakthrough technology introduces entirely new acoustic environments based upon recent critical research on how the human brain perceives complex sounds. Lexicon’s 3DPM not only allows sound designers to create the most realistic sounding acoustic environments ever, it also allows for the creation of new and unheard of spaces!

The 960L is capable of full 24-bit/96kHz performance and the factory standard I/O configuration boasts 8 channels of XLR-balanced analog audio as well as full AES/EBU digital I/O in a 4-unit, rack-mounting CPU mainframe.

The all-new Lexicon Alpha-numeric Remote Controller (LARC2) compliments the new 960L mainframe. Multiple DSP configurations include: Stereo, 5.1 Surround, Multiple-Stereo, and Stereo plus 5.1 Surround with 44.1, 48, 88.2 and 96kHz sampling rates.

The extensive sonic palette of factory programs includes such time-proven standards as Halls, Chambers, Rooms, Plates, Ambience, Wild Spaces, Post and more. Up to 500 additional user-definable programs may be stored in the CPU.

The user interface for the 960L is a totally redesigned and enhanced LARC2 remote controller. Fashioned after the original LARC, which sits atop the leading recording and post-production consoles throughout the world, the new LARC2 provides a simple and intuitive user interface based on the world standard 480L. A variety of input control devices are provided for maximum control and these can be custom tailored for additional flexibility.

Lexicon commissioned an award-winning industrial design company to co-develop the LARC2. Featuring a highly-stylized design with a large, easy-to-read color backlit LCD display, the LARC2 has eight touch-sensitive motorized faders, a two-axis joystick for surround sound panning/placement control, eight soft and twenty-nine dedicated function keys.

Using this extensive array of controls, the user has instant access to a variety of parameters including machine and system status, fader label/value, soft key, machine setup/select, system control/edit, mute/bypass and joystick control. The LARC2 also features and extremely small footprint (8.0″ x 10.5″ x 5.5″) and may be located several hundred feet from the 960L CPU.

Features

Redefines World-class Reverberation

24-bit/96kHz Processing

Lexicon 3DPM™ Algorithms (3-Dimensional Perceptual Modeling)

True Multi-Channel Surround Sound and Stereo Reverb Processing

LARC2™ Remote Control: 480L-based Intuitive User Interface

Flexible Input and Output Mixing Capabilities

Expandable Audio and Control I/O

Hardware and Software Expandable DSP

Extensive Sonic Palette of Factory Programs

Eight Touch-Sensitive Motorized (auto-nulling) Faders

Assignable Joystick for Surround Panning and Creative Parameter Control

Standard Configuration

Multiple 3DPM DSP Configurations: Stereo, 5.1 Surround, Combined

Eight 24-bit/96kHz Balanced XLR Analog I/O

Four Stereo Pairs of 24-bit/96kHz AES/EBU Digital I/O

MIDI In/Out/Thru

BNC Word Clock Input/Output/Loopthru

CD-ROM Drive for Software Upgrades

Specifications

Released: 2000

Quantization: 24 Bit

Sampling Frequency: 48kHz

Frequency Response: 20Hz-40kHz

Dynamic Range: 110dB

THD: <0.002%

special features

Documents:

• Lexicon\960l\960L_Delays_96k_Adm_Rev1
• Lexicon\960l\960L_Owners_Manuall_Rev1

See also:

• https://lexiconpro.com/en/products/960llarc2

Update to the PCM80. Improved 20-bit onverters and with the pitch-card algorithms build-in. Memory extended to 20 seconds, but not the memory cannot be expanded to 42 seconds like a PCM80

Famous for:

David Torn

See also:

• https://lexiconpro.com/en/products/pcm80
• https://www.vintagedigital.com.au/lexicon-pcm-80-digital-effects-processor/
• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon_pcm_80-81-91.asp
• http://www.italodeangelis.com/it/eventide_and_other_stuff/lexicon_pcm_80-81-91_2.asp
• https://www.gearslutz.com/board/so-much-gear-so-little-time/1319131-lexicon-pcm-80-81-cards-cult-users-thread.html

comming soon

The MPX G2 is a MPX1 with more memory and an added pre-amp section (it can also be run without the pre-amp). Another marvel by bu Bob Sellon. See his wesite (link below) for all ins- and outs of this wonderfull machine.

Special features:

has the abbility to put any effectsblock in the feedbackpatch of the delay. Has extensive patching system with 2 richly features assignable LFO's. Great Lexicon 300-like reverbs can be programmed

See also:

• http://www.stecrecords.com/index.php?RecordId=376
• http://www.stecrecords.com/gear/mpxg2/mpxg2_qanda.html
• https://lexiconpro.com/en/products/mpx-g2#support
• https://www.gitarrebass.de/heftarchiv/1999-08/lexicon-mpx-g2-guitar-effects-processor/

A beefed up QuadrVerb 2, with more memory and an internal powersupply. Marked as the Q20, while it is much closer to the QuadraVerb 2 than that was to the QuadraVerb.

Documents:

• MXR Alesis\Q20\q20-ref

See also:

• http://quadraverb.nl/qv-20.htm

a true modular multi-effectsprocessor. It contains a grid that holds modules and alows for completely free feedbackloops (for putting effects in the delay-feedback path or for special flanging or phasing)

Very similar to the M2000, but with more elaborate, natural sounding reverbs than the M2000.

stereo multitab delay with rich modulation and dynamic options. Modulation is achieved with a chorus instaid of actually modulation the delay-line, like the 2290 and M5000 have.

used by Tony Lommi, Robert Trujillo, Richard Kruspe, Dave Stewart

See also:

• https://www.tcelectronic.com/product.html?modelCode=P0CJ6
• https://www.vintagedigital.com.au/tc-electronic-d-two-multitap-rhythm-delay/

basically the guitar-version of the FireWorx. Loosing some of the wackier effects, but adding intelligent harmony. The converters seem to be a little less, but by a very small margin.

comming a.s.a.p

Documents:

• Lexicon\2000 MPX 200\Lexicon_MPX200_UG_Rev2_English

2-channel version of the Orville

The Eventide Orville is a programmable, multichannel, multipurpose, dual digital signal processor (DSP), 24 bit digital audio signal processor with UltraShifter™ capability.

That’s a lot of adjectives! It is the successor to a long, proud line of digital signal processors that stretches back to a time when most audio manufacturers didn’t know digital audio from Morse code.

Features

Orville is loaded with features that put it in a class by itself. It has four analog inputs, four analog outputs, four digital inputs, and four digital outputs that can all be used simultaneously. Routing among them is completely flexible (“anything to anything”)! What’s more, Orville houses two independent signal processors, each having four inputs and four outputs (imaginatively dubbed “DSP A” and “DSP B”). The two processors can be run in parallel, in series, or in any mutant variation thereof.

The variety and depth of the programs that run on the DSPs are truly amazing, from lush reverbs, to choruses, to flanges, to delays, to pitch shifters, to dynamics, to EQs, to filters, to distortions, to synthesizers, to samplers, to ring modulators, and everything in-between.

Most frequency and time-dependent parameters (e.g. delays, LFO's) synchronize to a system tempo for ease of use. And if that’s not enough, DSP A boasts nearly three minutes of sample time in addition to the 40 seconds of delay time found on both DSP A and DSP B! And for the user who is interested in making his or her own programs (if the huge number of factory programs aren’t enough!), Orville continues the “modular programming paradigm” that made the DSP4000 famous.

Programs are composed of individual building blocks, or “modules,” that allow the user to create original programs. Inspiration and creativity are given no bounds.

famous users:

Sylvia Massy, Aphex Twin

See also:

• https://www.eventideaudio.com/products/rackmount/harmonizer/orville

There's never been a compact effects box like Eclipse. From the amazing range and depth of its algorithms to its comprehensive array of analog and digital I/O ports, the Eclipse puts the legendary effects processing power of Eventide within your reach.

Dual Effects Block Architecture

Eclipse is the only effects processor in its class to feature 24-bit digital conversion and 96kHz sampling. We've packed almost 100 algorithms into Eclipse along with a two effects block design. The dual routing configurations let you use Eclipse as two independent effects processors; ideal for the smaller, budget-conscious studio. The two effects blocks' inputs and outputs can be configured for stereo or mono. Or, select a preset that combines two algorithms or recursive combinations for big multi-effects without sacrificing quality.

Classic Eventide Effects

We've packed Eclipse with effects Eventide is famous for. There's quick, seamless pitch shifting including our innovative Micro pitch shift, which FOH engineers and vocalists have come to rely on for turning good vocal performances into great ones. Eclipse boasts no fewer than 11 reverberation algorithms plus four plex algorithms. Originally developed for Eventide's industry-standard Orville™ and DSP 7000 series, these reverbs have been carefully and faithfully transplanted into Eclipse. And all reverbs are true stereo in and out, not mono in, stereo out. The vast array of delays lets you design lush, dense soundscapes. You'll find band delays, chorus delays, comb delays, ducked delays, ring delays and pan delays. And with 20 seconds of memory per effects block, Eclipse is a looper's delight. It's easy to get lost in the 20-second mono loop, 10-second dual loops, 20-second reverse loop, and 10-second dual reverse loop. Remember, these looping presets running on one FX block leaves the other FX block available for adding texture or dimension.

Unleash the Sonic Beast

Whether it's live performance, front-of-house engineering, or quality studio processing, Eclipse gives you the tools you can depend on in one compact, professional package. After all, Eclipse is not just an effects box, it's an Eventide.

famous users:

Christine Wu, Annie Clark, Vernon Reid, Peter Frampton etc.

Documents:

• Eventide\eclipse\EclipseUserManual

See also:

• https://www.eventideaudio.com/products/rackmount/stereo-effects/eclipse-v4
• https://www.soundonsound.com/reviews/eventide-eclipse-v4

Recreation of the reverb algoritm in the SP 2016

single engine version of the Reverb 6000, which is considered an industry standard

used by Al Di Meola, Matt Sorum and John Petrucci

from the Yamaha website:

New-generation SPX with 24-bit 96-kHz Processing and Advanced REV-X Reverb Algorithms

For more than 15 years the letters "SPX" have been synonymous with professional multi-effect processors, and over that time you would almost always find an SPX90, SPX90II, SPX900, SPX1000 or SPX990 in any well-equipped studio or live-sound rack. The SPX2000, while inheriting the standard interface and popular programs from its predecessors, brings a new dimension to the SPX sound with advanced REV-X reverb algorithms and 24-bit, 96k-Hz audio processing. It also offers an innovative user interface with features such as five assignable LCD backlight colors, operation lock modes, and computer-based editing. The SPX2000 is a new-generation multi-effect processor that delivers performance that is a perfect match for Yamaha's DM series Digital Production Consoles, and is suitable for applications from live sound to production studios.

Superb Sonic Quality with 24-bit/96-kHz Processing Throughout

The heart of the SPX2000 hardware is a 96-kHz DSP LSI with 32-bit internal processing (58-bit accumulator) that delivers plenty of processing power for the unit's advanced effect algorithms. 24-bit, 128-times oversampling AD and DA converters achieve 106 dB dynamic range and flat response from 20 Hz to 40 kHz at the 96-kHz sampling rate.

Refined Preset Programs Including the Advanced "REV-X" Reverb Algorithm

The SPX2000 memory is organized into three banks: "PRESET," "CLASSIC" and "USER." The PRESET bank contains 97 programs, 17 of which feature Yamaha's acclaimed REV-X reverb algorithms. REV-X reverb programs deliver the richest reverberation tone and smoothest decay available. There are separate REV-X Hall, REV-X ROOM, and REV-X PLATE algorithms, and corresponding new parameters such as ROOM SIZE and DECAY ENVELOPE that contribute to higher definition and finer reverb nuance. The other 80 presets are popular SPX programs such as gate reverbs, delays, pitch effects, modulation and other special effects. Other advanced algorithms - such as Multi-band Dynamic Processors - are inherited from the DM series Digital Production Consoles. All programs have been created through detailed listening and editing by leading engineers.The "CLASSIC" bank contains 25 programs reminiscent of the original presets from early SPX models such as the SPX90II.The "USER" bank can store 99 user programs.

vEfficient Color-coded Interface

The SPX2000 is designed for maximum operability and reliability in any situation. The rugged aluminum front panel features 2 sets of intuitive cross-keys for easy navigation and editing. Parameters are arranged into 3 groups: PARAMETER, FINE PARAM, and UTILITY for speedy access. Other dedicated control keys — UNDO, COMPARE, BANK, MODE, METER, TAP, and BYPASS — ensure efficient operation. For striking visual contrast and easy identification, the SPX2000 LCD has five backlight color variations. Any of the five colors can be assigned to user programs as required. The preset programs are color-coded by effect group for instant identification: cyan for reverbs, white for delays, magenta for pitch & modulation, yellow for others, and green for the CLASSIC bank. Red is reserved for warning messages. There's also an OPERATION LOCK function that offers 3 security levels to prevent accidental utility setting changes, protect stored memories, or to prohibit almost all operations.

Professional Audio I/O and Control Connectors

For analog input and output the SPX2000 rear panel has latching XLR type connectors as well as quarter-inch phone jacks for the left and right channels. A +4 dBu/-10 dBu selector switch provides extra level-matching flexibility. Digital connection is facilitated via AES/EBU XLR type I/O connectors and a BNC WORDCLOCK IN connector. MIDI IN, OUT/THROUGH and USB TO HOST connectors are provided for remote control and data management using a computers digital mixing console, or MIDI device. A footswitch connector for effect tempo control is provided on the front panel.

SPX2000 Editor for Mac OS X and Windows

The supplied SPX2000 Editor application makes it easy to edit and manage data from a personal computer, as well as remotely control the SPX2000 directly from the computer. The SPX2000 Editor provides a common operating environment and interface for the SPX2000 and Yamaha digital mixing consoles.

5 Color LCD PRESET ASSIGNMENT

CYANREVERB & ER WHITEDELAY & ECHO MAGENTAPITCH CHANGE & MODULATION YELLOWFILTER, DISTORTION, MULTIPLE & FREEZE GREENCLASSIC BANK

Documents:

• Yamaha\2004 SPX2000\Yamaha SPX2000 Editor Owner's Manual
• Yamaha\2004 SPX2000\Yamaha SPX2000 Owner's Manual

See also:

• https://nl.yamaha.com/nl/products/proaudio/processors/spx2000/index.html
• https://www.soundonsound.com/reviews/yamaha-spx2000

temp

well-know users include Josh Homme & Robert Fripp

See also:

• https://www.eventideaudio.com/products/rackmount/post-production-effects/h8000fw

comming a.s.a.p

The Most Powerful Two-Channel Effects Processor You Can Buy

The H7600 provides 1100 preset-algorithms, 174-second sampler, and sorting capabilities for unprecedented stereo effects processing prowess.

Eventide Harmonizer® effects processors are considered “classics” by musicians and audio professionals. One reason is that Eventide doesn't believe in planned obsolescence. Eventide gear has proven staying power over the decades as evidenced by the thousands of effects processors that remain in use. Eventide introduces a new model only when the state-of-the-art advances to the point that a major leap in performance is possible. That time has come and the Eventide H7600 is that product. The H7600 builds on the rich heritage of Eventide's world-class H3000/DSP4000/DSP7000 series. With more processing power than its predecessors, the H7600 is the most powerful two-channel effects processor you can buy. More capabilities and better performance— the densest reverbs, lushest choruses, and highest quality pitch change ever. An enhanced user interface adds search capability so that the H7600 is even faster and easier to use - in the studio or on the road. The H7600 Ultra-Harmonizer effects processor brings you one step closer to stereo effects Nirvana.

Reverb Paradise - Award-winning acoustic spaces

World-class reverb lives and breathes in the H7600. Stereo versions of the reverbs which earned Eventide the coveted Best Reverb Award from Studio Sound magazine are included the H7600. Dozens of new environments ranging from "Car Window" to mall spaces, big halls, plate reverbs, arenas, rooms, chambers, and even the "impossible" reverb we call "Blackhole" are found in the H7600. Whether it’s large or small, real or imagined, there’s a reverb for every musical genre and every post-production requirement.

An Architecture You Can Build On - Create your own signature effects

Ordinary processors have a limited number of processing algorithms. Their programs and presets can only be variations of that limited repertoire. In sharp contrast, each of the H7600’s 1100 factory preset-algorithms are created from a wide array of effects building blocks — over 230 in all. In the H7600, each preset is its own unique algorithm. Create your own unique effects from the front panel, or using the included VSIG™ (Windows) development tool.

Copious Sampling With Time Compression/Expansion – Sample, stack, stretch & more

The H7600 puts a highly flexible 174 seconds mono (87 seconds stereo) sampler at your fingertips. With stereo looping and multiple sampling capabilities, you can stack several samples and independently edit them, pitch shift, and/or time compress or expand them. Tap tempo looping adds to the versatility. From dance remixes to nuts-and-bolts radio and post-production, the H7600 sampler gets the job done.

Post-Production And Broadcast Essentials - The complex made simple

Broadcast and post-production professionals will find special utility in the H7600’s unique program presets created by sound designer Jay Rose. Instantly conjure up scores of audio environments which would otherwise take forever to achieve. Press a button and it’s "This is your captain speaking." Press again and it’s the kid at the fast-food drive-up window. Another press and your words are coming from a computer chip-driven toy, or the TV in the next room, or a cellular phone. Myriads of fantasy or cartoon voices beckoning you to fairylands or to the "dark side of the force" are at your fingertips. Odds are that you’ve heard some of these Eventide effects on TV, radio, or at the movies in the past week.

And Now Midi Virtual Racks- Stacked effects with instant program change

The H7600 offers 20 MIDI Virtual Rack preset-algorithms, featuring up to five full-blown effect processors ganged together. Each preset offers 10 different tweaks which can be programmed, stored, and controlled in real time through MIDI. Up to forty-five different parameters can be controlled with one MIDI control message. Individually optimized for guitar, vocals, or percussion, and designed with performance in mind. Single effects blocks are also offered as separated presets so that effect chains can be assembled.

Ultrashifter™ - The apex of pitch manipulation

The H7600 incorporates Eventide’s most advanced formant-maintaining pitch shifter optimized for the human voice. The UltraShifter’s real-time adaptive resynthesis allows for unmatched modification of vocal timbre. So, if you are changing gender or going for something completely bizarre, it’s in there.

Choose Eventide

Eventide has packed so many unique and eminently useful preset-algorithms into the H7600 that this brochure can’t begin to detail them all. We haven’t neglected the classic Eventide effects that make audio pros covet even the oldest Eventide boxes. The H7600 includes the many wonderful, classic Eventide effects heard on hit records, in major motion pictures, and TV and radio productions over the past thirty-five years - each in a variety of flavors, all in a single box. Eventide pushes the limits of what’s possible today with a clear vision of what will be possible tomorrow. Eventide processors are jam packed with processing horsepower and a vast array of mind-boggling effects. Simply put, with Eventide, there are no shortcuts, there is no compromise.

famous users:

John Petrucci

See also:

• https://www.eventideaudio.com/products/rackmount/post-production-effects/h8000fw

comming a.s.a.p

comming a.s.a.p

comming a.s.a.p

a recration of the classic lexicon reverb effects (of which some were lost) by Michael Carnes, who wrote the 960L algorithms.

See also:

• https://www.vintagedigital.com.au/lexicon-pcm96-digital-reverb/
• https://www.thegearpage.net/board/index.php?threads/lexicon-pcm96-pcm70-digitech-polara-comparison.1857951/
• https://www.gearslutz.com/board/high-end/362930-lexicon-reverbs-brief-bestiary.html

4th incarnation of the MicroVerb

See also:

• https://www.vintagedigital.com.au/alesis-microverb4-signal-processor/

Next Generation Harmonizer

See also:

• https://www.eventideaudio.com/products/rackmount/harmonizer/h9000
• https://www.soundonsound.com/reviews/eventide-h9000