Sony DPS-V77 Multi Effects Processor

Having done all they could with the DPS series, Sony only had one place left go, and that was to combine all four DPS effects into a single processor. The Sony DPS-V77 was born! In creating the Sony DPS-V77, Sony unleashed a 'Best of Sony' in terms of not only the effects on offer by combining all the best DPS Series effects, but also the sonic performance of the internals too.

Sony DPS-V77 Multi Effects Processor Details

The Sony DPS-V77 incorporates both quality pre-set effects chosen from the DPS-R7/D7/ M7/F7 sound series (these processors are trusted by professional musicians and producers alike) and a host of exciting newly developed effects that let you go beyond traditional genre classifications.

In addition, the two fully outfitted multi-type effect blocks (each allowing you to choose from the full range of effects) and two EQ blocks allow for tremendously ﬂexible sound shaping.

A primary concern when creating the Sony DPS-V77, was to provide musicians and engineers with a powerful operating system for fast, efficient, and creative sound control.

The shuttle ring and ten key number pads provide almost instantaneous access to any effect, program, or parameter setting. The large display and function keys let you carry out simple edit functions directly from the play screen, perfect for live and/or studio situations where timing is crucial.

Seamless changes between memorised effects (morphing*) Everyone’s probably encountered the frustration of changing effects in mid-tune only to have the previous effect cut out unnaturally (such as a sudden loss of reverb or delay).

The Sony DPS-V77’s morphing function automatically crossfades the new and previous effects. Therefore, you can maintain reverb resonance while bringing in a flanger or shift pitch while the chorus element fades.

* You can only use one effect block when morphing.

In addition to the 198 different pre-set effects created by musicians and engineers from around the world (PRESET memory), there is also room for you to store up to 198 of your own original effects (USER memory) to the Sony DPS-V77, we’ve also made it easy to organise the memory so you can recall affects you need without hassle.

You can use MIDI controls like wheels and velocity effect controllers to adjust effect parameters in real time (RTC). The MIDI interface also lets you conduct program change and data save operations.

In addition to the two types of analogue IN/OUT terminals, PHONO UNBALANCED and XLR BALANCED, the Sony DPS-V77 is also provided with digital IN/OUT capability (optional cables are available for either SPDIF or AES/EBU connections).

Use the digital IN/OUT to preserve signal quality when making connections with CD players or additional Sony DPS-V77 units, or for direct digital mix down to DAT recorders.

In addition, you can output signals from the analogue input jacks as digital, output signals from the digital input jacks as analogue, and even use both the analogue and digital jacks at the same time.

Sony DPS-V77 Features

2 independently controllable effect blocks & level mixer blocks
EQ/main effect in each effect block
2 effect blocks can be connected via both Serial and Parallel
Easy to operate featuring large display, jog and shuttle function, 10 keys, pre-set number display with 7 segment LED, and SPC (Standard Parameter Configuration)
Digital I/O (44.056 or 44.1 or 48.0 kHz) AES/EBU or SPDIF
198 pre-set memories and 198 user memories (99* 2 Blocks, 99* 2 Blocks)
Long Delay Time Standard – 32-bit mode – 1.3sec St. (2.6sec Mono)
* 2 – 16-bit mode – 2.6sec St. (5.2sec Mono)
* 4 – 8-bit mode – 5.2sec St. (10.4sec Mono)
MIDI control/assignable foot control
1U/full rack size
Pre-set Morphing (Seamless transition between 2 effects)
Seamless morphing transition between 2 pre-sets
Six parameters visible in display at once
Large easy to read graphic display

Specifications

Released in: 1995

Made in: Japan

A/D: 1 Bit/64 times oversampling (24-bit resolution)
D/A: Advanced PULSE D/A converter (20-bit resolution)
Sampling Frequency: 48 kHz (Analogue Input)
Digital input: 44.1/48 kHz (auto-switching)
Analogue Input Jack type: XLR-3-31 (balanced)
- Reference input level: +4 dBs
- Maximum input level: +21 dBs
- Input impedance: 20 kilohms
Jack type: PHONE (unbalanced)
- Reference input level: -20 dBs or +4 dBs
- Maximum input level: -2 dBs or +21 dBs
- Input impedance: 50 kilohms
XLR-3-31 connectors: (1: GND 2: HOT 3: COLD) 0 dBs = 0.775 Vrms
Analogue Output Jack type: XLR-3-32 (balanced)
- Reference output level: +4 dBs
- Maximum output level: +21 dBs
- Load impedance: 600 ohms or more
Jack type: PHONE (unbalanced)
- Reference output level: -20 dBs or +4 dBs
- Maximum output level: -2 dBs or +21 dBs
- Load impedance: 10 kilohms or more
XLR-3-32 connectors: (1: GND 2: HOT 3: COLD) 0 dBs = 0.775 Vrms
Digital Input/Output type: 8 pin mini-DIN
- Use optional cables RK-V77A (for AES/EBU) or RK-V77S (for SPDIF)
Frequency Response: 10 – 22 kHz +0, -1.0 dB
Signal-to-Noise Ratio: Greater than 97 dB
Dynamic Range: Greater than 97 dB
Distortion: Less than 0.003% (1 kHz)
Memory:
- Preset: 198 locations (99 location preset bank x 2)
- User: 198 locations (99 location user bank x 2)
Power Consumption: 23 W (120 V) / 25 W (230 V)
Dimensions: 482mm x 44mm x 320mm
Weight: 4.7 kg

See All: Sony Products

See More: Sony DPS Series Products

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Sony DPS-V77 Multi Effects Processor User Reviews

Pleasant Surprise!

By Hollowman9

Sound Quality 100%

Build Quality 95%

Usefullness 100%

Mojo/Funk 75%

Reliability 90%

I’m still getting to know this unit. I recently changed the battery and capacitors. It’s remarkably clean sounding with good headroom. It has a handful of excellent presets but the rest are sort of snore boring. I was hoping this unit would have similarly cool and useful presets like its brother the V55 but unfortunately not even close. The V55 had stellar presets IMO but its quality doesn’t even compare to the V77. This is light years ahead sonically in every regard. Clearly I need to dig in and create presets I like but out of the ones I have taken a shine to I can say that they are splendid. There’s obviously a great deal of power inside this box and I can’t wait to unleash it all.

Still useful

By Andychamp

Sound Quality 100%

Build Quality 95%

Usefullness 100%

Mojo/Funk 75%

Reliability 95%

I’ve had mine since the early 2Ks and am still finding uses for this machine, live and in the studio. I used to carry it around to gigs, as my main (and sometimes only) FX unit. The 2 machines covered my basic FOH FX needs, and it provided me with a consistent and repeatable drum and vocal sound, no matter what the P.A. Cos. would provide. I‘ve used it as digital hardware plugin via S/PDIF in a DAW. I‘ve made digital IRs of my favorite presets, which gives me multiple virtual V77s. And tomorrow I‘ll be using it as master P.A. processor with a total of 8 bands of stereo parametric EQ and a final limiter for speaker protection. The 75% for mojo/funk aren‘t a negative thing…I just find this unit very clean, serious and professional.

Incredible machine – get one if you can

By TJC

Sound Quality 95%

Build Quality 80%

Usefullness 100%

Mojo/Funk 95%

Reliability 80%

I have this, the M7, the R7 and the HP5. All are fantastic but this is a great all in one box that is more sophisticated than the HP5 but easier to program than the M7 or R7. Sound quality is superb and the effects are spectacular (easily in line with a top Eventide or Lexicon). The M7 is a real fave of mine but the V77 gives you a lot of its presets, plus a bunch of other goodies and the ability to combine two effects at once (in addition to EQs and gate etc.).

Issues with the display are common (missing lines) but they can be easily fixed. The style of LCD in the V77 (which is different to other Sonys such as the HP5) requires that you use a soldering iron at around 300c (that’s what I had it set to on my Hakko) with a 3mm tip on the top part of the plastic ribbon running from the display pc board to the glass. Essentially what you need to do is reflow the very fine solder connections under the plastic and bind them to the connections on the display again.

The contacts in question (from memory) are on the top of the LCD unit at the rear (just before the cable folds over on to the main PC board on the back of the display). You obviously need to remove the faceplate to gain access, but this is very easy to do if you have taken apart studio gear before. Do not overheat the soldering iron and make sure you keep it moving. There is a very good video by a young guy on YouTube showing how to fix this very same problem with a Nintendo Gameboy. You need to be patient. I ran my iron over the connections continuously for around ten minutes. If you are concentrating, you should be able to feel the iron running over the traces (although they are very fine).

When I first plugged the LCD back in the five or six missing lines were still missing. Then after a few seconds the LCD kicked into action and each of the missing lines permanently disappeared and is perfect now. This is a very common problem on these types of displays from this era and can be fixed to get the V77 working like new again. It’s an incredible FX machine and deserves to live on!

Incredible unit, a secret weapon

By Sneaky Beans

Sound Quality 90%

Build Quality 85%

Usefullness 90%

Mojo/Funk 80%

Reliability 85%

was thinking of blowing money on an Eventide H8000 at first but after coming across this website, I learned of the Sony DPS-V77 and it’s capabilities. Fast forward to actually owning one, I must say that The Sony DPS-V77 embodies everything that I needed and then some! Honestly will never get rid of this unit. Somewhat of a secret weapon as not many people are hip to it. Uniqueness over popularity, Sony DPS-V77 is it!

Nothing beats this unit!

By Anonymous

Sound Quality 95%

Build Quality 85%

Usefullness 95%

Mojo/Funk 80%

Reliability 85%

This box does many things pretty well, but the Crystal keys preset sounds like nothing else on the planet. This is the perfect sound for picked electric guitar, offering a unique stereo spread that lifts the guitar in the mix really nicely. Someone needs to make a plugin that emulates this preset, I have tried to emulate with the SoundToys suite and failed!

More usefull to me than the Eventide

By Anonymous

Sound Quality 100%

Build Quality 90%

Usefullness 95%

Mojo/Funk 85%

Reliability 75%

I have had a lot of multi-effects boxes from the likes of Roland, Yamaha, Sony, Lexicon and Eventide. I have to say, this Sony DPS-V77 is for me, the most useful. If you put aside the incredible pitch effects that the Eventide can do and look at things like chorusing etc, I prefer this Sony to all others. Crystal Keys preset is what did it for me, it is something like micro-pitch and chorus in one effect and is incredibly useful on guitar for stereo spreads and to simply add movement to a track, nothing else beats this for me.

This is a ‘best of Sony’ box and it is a real shame that Sony pulled out of the market as the DPS-V77 shows just how good they were at taking on the likes of Lexicon and Eventide at their own game and coming out the other end standing tall. So, if you can not afford an Eventide, get this Sony as I believe you will find it more useful.

A box full of the best of Sony

By Anonymous

Sound Quality 95%

Build Quality 95%

Usefullness 100%

Mojo/Funk 90%

Reliability 65%

I have owned the DPS-R7, DPS-D7 and DPS-M7 previously but sold them all because of their nightmare interface that made tweaking the presets difficult. The DPS-V77 addresses that problem and combines all three of those effects and the DPS-F7 into one box, with greatly improved AD/DA conversion and with lower noise floor.

There are some excellent presets in the V77 from the simple to the bazaar. Often referred to as a poor mans Eventide, it certainly fills the void in my rack for lush choruses and stereo effects suitable for widening vocals, guitars and snare etc. and lets not forget the excellent reverbs which are smooth and lush also. The bonus is the digital in and out, provided via an 8 pin micro DIN connector unfortunately, but it can handle 24bit/44.1kHz and 24bit/48kHz signals only.

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Effects Presets

Class	Memory No.	Preset Name	Block-A	Block-B	Struct	Description
Special Select	1	Crystal Plate	Plate SEQ	DyFIL SEQ	S1	An extremely bright plate with smooth expansion, matches a wide variety of sources.
Special Select	2	Tight Chamber	Room	SEQ Room	S1	A dual room configuration for a tight and powerful reflective ambience. Great for drums.
Special Select	3	Boston Hall	MdDLY SEQ	Hall SEQ	S1	Bright and rich sounding orchestra hall with medium decay, good for percussive instruments.
Special Select	4	Room Distance	SpAMB	—	S1	Provides a sense of room depth. Convenient for conveying the size of a room.
Special Select	5	Mastering	SEQ LIMIT	DAL SEQ	S1	Settings often used in CD mastering to add sound pressure and brightness.
Special Select	6	London Symphony	MtPCH SEQ	Hall SEQ	S2	Creates a heavy orchestral sound by pitchshifting feedback loops in octaves and unisons.
Special Select	7	12-Stg Chorus	CHORS SEQ	Plate SEQ	S1	Applies a short delay to emulate the sound of a 12 string guitar. Good for acoustic guitar or synth piano.
Special Select	8	Crystal Keys	SEQ COMP	BdFLN SEQ	S2	Sparkling band flanger for electric piano. Processes each frequency at a different rate, phase and level.
Special Select	9	Panning Phaser	PHASR	HsPAN	S2	This effect creates a sound that moves slowly with a flat and expansive phaser.
Special Select	10	Pwr Amp Panner	PAN	AMP	S1	A powerful panning effect using the amp simulator. Excellent for electric guitar or electric piano.
Hall Reverb	11	Large Hall	MdDLY	Hall	S2	Smooth, bright and subtle large hall with slow reverb and low level early reflections.
Hall Reverb	12	Small Hall	MdDLY	Hall	S2	Similar to No. 11, but simulates a hall of smaller physical size.
Hall Reverb	13	Concert Hall	Hall	DmDLY	S1	Uses dimension delay to create a dark hall with a 3D effect, ideal for orchestral sounds.
Hall Reverb	14	3D Church	Hall SEQ	DmDLY SEQ	S1	Simulates a bright sounding church with a high ceiling and rich stone wall reflections.
Hall Reverb	15	3D Cathedral	Hall SEQ	DmDLY SEQ	S1	Simulates a large, deep and dark cathedral. Particularly suitable for voices or organ.
Hall Reverb	16	Clr Cathedral	Hall SEQ	MdDLY SEQ	S2	Large cathedral hall designed for ensembles, also good for chorus and organs.
Hall Reverb	17	Flyby Reverb	DeCHO	Hall	S2	A slightly bizarre sound created by sending only the reverb to the Deca Chorus for panning.
Hall Reverb	18	Canyon Hall	Hall SEQ	Hall	S1	Reverb with long echoes. For instruments with slow attack such as flute, slow strings or soft vocals.
Hall Reverb	19	Clear & Mellow	SEQ Plate	SEQ Hall	P	Combination of a clear plate to reduce low frequency resonance and a deep long hall reverb.
Hall Reverb	20	Back Stage	Hall CEQ	—	S1	“Clouded” hall reverb similar to being back stage at a concert.
Room Reverb	21	NarrAte Booth	SEQ	SEQ Room	S1	An incredibly transparent yet powerful room for narration, drums and rhythm sections.
Room Reverb	22	Drum Booth	SEQ	SEQ Room	S1	A powerful room with a slightly different character than No. 21.
Room Reverb	23	Board Room	—	Room	S1	A room constructed of wood and glass especially for drums. Gives a drum booth sound.
Room Reverb	24	Power Room	—	SEQ Room	S1	Deep and rich room reverb for drums.
Room Reverb	25	Track A Room	Delay SEQ	Room	S1	A large recording room with a deep and boomy analogue tape sound, for guitars or drums.
Room Reverb	26	Tight 3D Room	Room	DmDLY	S1	Room reverb with dimension delay for a rock band sound, drums and other instruments.
Room Reverb	27	Power Chamber	Room	SEQ Room	S1	A mix of two room ambiences for tight and powerful reflections.
Room Reverb	28	Warehouse	ENS	Room SEQ	S1	A very large rehearsal warehouse with a sense of depth, good for drums and electric guitar.
Room Reverb	29	Hardwood Room	—	Room CEQ	S1	Simulates a large wooden room. Ideal for narration.
Room Reverb	30	Analog Room	Delay PEQ	Room	S1	Room reverb with a warm round sound similar to audio recorded on analogue tape.
Plate Reverb	31	Marble Plate	CHORS	Plate SEQ	S1	A smooth plate with minimal reflections and chorus for spotlighting solos or slow attack instruments.
Plate Reverb	32	Platinum Plate	MdDLY	Plate SEQ	S1	A smooth and expansive plate with subtle modulation, great for sax or acoustic guitar.
Plate Reverb	33	Gem Plate	Plate SEQ	DyFIL SEQ	S1	Extremely bright plate reverb usable with a wide variety of sources.
Plate Reverb	34	Gold Plate	—	Plate SEQ	S1	Basic plate reverb, good for drums.
Plate Reverb	35	2 Gold Plate	Plate	Plate SEQ	P	Dual plate reverbs in parallel, especially good for vocals.
Plate Reverb	36	Iron Plate	—	Plate SEQ	S1	Basic medium sized plate reverb for any instrument.
Plate Reverb	37	Large Plate	—	Plate SEQ	S1	A slightly larger version of No. 36.
Plate Reverb	38	Dark Plate	—	Plate SEQ	S1	A dark plate with low reflections and fast high-end decay.
Plate Reverb	39	Sml Brt Plate	—	Plate SEQ	S1	A small but bright plate.
Plate Reverb	40	C4 Filter Plate	Plate SEQ	DyFIL	S1	A plate reverb that allows control of high frequency resonance with MIDI control change #4.
Plate Reverb	41	Richy StoneS	SEQ Hall	Plate SEQ	P	Uses hall reverb to control spatial characteristics and plate reverb to add heavy reverberation.
Gated Reverb	42	Vanilla Gate	—	GtREV	S1	A standard gate for drums.
Gated Reverb	43	Tight Gate	—	GtREV	S1	A tight drum gate with high frequency resonance.
Gated Reverb	44	Drum Stretcher	GtREV SEQ	Plate SEQ	S1	Reverse gate sound with a long drawn out attack.
Gated Reverb	45	Slam Gate	—	GtREV	S1	A bright and thin resonant gate.
Gated Reverb	46	Echo Gate	—	GtREV	S1	Gate reverb with a reverse envelope.
Ducking Reverb	47	Dynamic Reverb	DcREV	—	S1	A ducking reverb for ambience without clouding the source.
Ducking Reverb	48	Gated Plate	DcREV	—	S1	Gated reverb sound for drums.
Ducking Reverb	49	Duckereverb	DcREV	—	S1	Activates a deep reverb when the signal goes below −25 dB.
Ducking Reverb	50	Frnt-Back Hall	SpAMB SEQ	Hall SEQ	S1	Controls front-to-back depth via MIDI control change #4.
Spacious Ambience	51	Location Hall	SpAMB SEQ	Hall SEQ	P	Controls front-to-back movement using MIDI control changes.
Spacious Ambience	52	Room Location	SpAMB SEQ	Room SEQ	P	Slightly smaller ambience than No. 51.
Spacious Ambience	53	Off Micing	SpAMB	—	S1	Makes close-mic recordings sound distant.
Delay	54	Bermuda Delay	Delay	Hall	S1	Expansive triangle delay for brass ensembles or trumpets.
Delay	55	Icicle Delay	SEQ Delay	Room	S1	Bright top-end delay sheen.
Delay	56	Ripple Magic	MdDLY	SEQ DbDLY	S1	Spreads arpeggios left and right.
Delay	57	Idle Echo	DbDLY	Room SEQ	S1	Mellow echo for delicate sounds.
Delay	58	L to R rolling	MtDLY	SEQ Hall	S1	Rolls sound left to right.
Delay	59	Tempo Triangle	TmDLY	Plate	S1	120 bpm triangle delay with ambience.
Delay	60	L/R-Dly + Plate	LgDLY	Plate	S1	Long delay with plate reverb.
Delay	61	Compu Meditate	MtDLY	MtDLY	S2	Spacey cyclic panning delays.
Delay	62	NY City Lights	MdDLY	Plate	S1	Modulated echoes create a tranquil ambience.
Delay	63	Bendin Echo	MdDLY	Plate SEQ	S2	Modulated echo ambience.
Delay	64	Reflection	MdDLY	—	S1	Reflections that move around the stereo field.
Delay	65	Melting Delay	Plate	MdDLY	S2	Delay gradually becomes reverb.
Delay	66	Velocity Delay	PpDLY	Plate	S1	Ping-pong delay triggered by velocity.
Delay	67	Ping Pong Delay	PpDLY	—	S1	Standard ping-pong delay.
Delay	68	Multi Ping Pong	MtDLY	CH+RV	S1	Multi-tap ping-pong delay.
Delay	69	Hold Delay	HdDLY	CH+RV	S1	Delay hold triggered by control.
Delay	70	Star Tinkler	PtDLY	CHORS SEQ	S1	Animated synth echo ambience.
Delay	71	Mute Flybys	PtDLY	FLNGR SEQ	S1	Vocoder-like muted guitar echoes.
Chorus	72	Presence Chorus	CHORS	Plate SEQ	S1	Chorus effect with clear attack.
Chorus	73	Vintage Chorus	CHORS PEQ	Room SEQ	S1	Mellow round chorus.
Chorus	74	Maple Chorus	CHORS SEQ	Plate SEQ	S2	Rich chorus without delay.
Chorus	75	Clarity Chorus	CHORS	Plate SEQ	S1	Filters high frequencies from chorus signal.
Chorus	76	3D Chorus	SEQ BdCHO	DmDLY	S1	Multiband chorus.
Chorus	77	Lush Chorus	BdCHO SEQ	Plate SEQ	S1	Rich chorus for electric piano.
Chorus	78	Midrange Chorus	BdCHO SEQ	Plate SEQ	S1	Midrange chorus with plate reverb.
Chorus	79	Bass Chorus	BdCHO SEQ	SEQ	S1	Chorus designed for bass harmonics.
Chorus	80	Decadent Chor	DeCHO SEQ	PHASR SEQ	S1	Early reflections with phaser.
Chorus	81	Deca Pan Delay	SEQ DeCHO	PHASR SEQ	S1	Left-right echo panning.
Chorus	82	Crystal Chorus	SEQ DeCHO	COMP SEQ	S1	Short delays with compression.
Chorus	83	Mini Sparkler	DeCHO SEQ	PHASR SEQ	S1	Short delay chorus with phasing.
Chorus	84	Ensemble Groove	ENS	PT+CH	S1	Heavy ensemble effect.
Chorus	85	Ensemble Chorus	ENS	Room SEQ	S1	Ensemble effect for instruments.
Flanger	86	3D Zero Flang	MdDLY	MdDLY	P	Zero-crossing phase cancellation flanging.
Flanger	87	Bass Flng+Comp	FLNGR	COMP SEQ	S1	Flanger with compression for bass.
Flanger	88	Flanger + Hall	FLNGR	Hall	P	Flange with hall ambience.
Flanger	89	Flanger Delay	FLNGR	MdDLY	S2	Flanger warping delay sound.
Flanger	90	Flanger Platz	SpFLN	Plate	S2	Heavy step flanging.
Flanger	91	Trigger Flanger	TgFLN	—	S1	Triggered flanging.
Phaser	92	MegaII Phaser	PHASR	PHASR	P	Dual phasers with heavy swirl.
Phaser	93	Water Wonder	PHASR	SEQ PtDLY	S1	Step phaser with cross feedback delay.
Phaser	94	Tricera Phaser	Delay	PHASR	S1	Three-point delay panning with phaser swirl.
Phaser	95	Mega Phaser	PHASR	CH+RV	S1	Stereo phasing with slight room ambience.
Phaser	96	Phasing Drums	TgPHS	Room	S1	Phasing added to drum reverberation.
Panning	97	HaaSlow Steps	HsPAN	CH+RV SEQ	S2	Slow Haas panning.
Panning	98	Deca Panner	PAN	SEQ DeCHO	S2	Powerful panning effect.
Panning	99	3D Space Pan	SEQ TgPAN	Hall SEQ	P	Large spacious panning effect.