Yamaha REV500 Digital Reverb

Digitally reproducing the complex reflection patterns of natural reverberation is a daunting task that can only be effectively handled by custom LSI circuitry. Yamaha was a pioneer in the field of DSP (Digital Signal Processor) LSI production, and continues to lead the way in products such as the Yamaha REV500.

Yamaha REV500 Digital Reverb Details

The latest generation of DSP chips, the type used in the acclaimed Yamaha ProR3 Digital Reverberator and the Yamaha REV500, employ 32-bit signal processing for unprecedented precision and dynamic range, coming closer than ever to the delicate sonic nuances of natural reverberation. The Yamaha REV500 delivers extraordinary reverb depth and resolution for ambiance that can only be described as “alive”.

As in all professional audio equipment, basic reproduction precision is the critical foundation on which overall sound quality depends. The Yamaha REV500 more than measures up to the most demanding audio standards with high-performance 20-bit oversampling A/D and D/A converters that ensure absolute precision in reproducing the original signal, as well as unsurpassed effect quality.

Like the music it surrounds, natural reverberation is a 3-dimensional phenomenon. Stereo processing is therefore essential for realistic ambiance as opposed to a simple “effect”. Many digital reverb processors employ a pseudo-stereo scheme in which the stereo signal is processed via a single DSP stage. This can produce acceptable results, but not nearly as natural as the true stereo processing provided by the REV500. The left- and right-channel stereo signals are independently handled by separate DSP stages, thereby maintaining the integrity of the stereo image. If you have a mono source, simply switch to the mono input mode.

The Yamaha REV500 includes 100 top-quality presets (many of the same programs supplied with the top-line ProR3) for select-and-use convenience. Although it is primarily a reverb device, the REV500 can do much more. The presets range from straight reverb through echo to a variety of hybrid effects: reverb plus chorus, flanging, gate, dynamic filter, and others. The presets can be edited as required and stored in any of 100 user program memory locations.

The Yamaha REV500 preset, and user programs are divided into four categories of 25 programs each: HALL, ROOM, PLATE, and SPECIAL. Pressing the TYPE button toggles through the categories, automatically recalling the last individual program selected in each category. Individual programs can be selected via the panel NUMBER keys, MIDI program change messages received from an external MIDI device, or a footswitch connected to the rear-panel FOOT SW jack.

Two to four basic parameters are sufficient for most reverb programming. Reverb time and pre-delay are essential to define the core of the sound, while high-frequency ratio and early-reflection level allow a wide range of variation in how the sound “feels”. The REV500 provides direct access to these four parameters via rotary front-panel controls. The large LCD panel switches to a graphic representation of the selected parameter whenever one of the knobs is operated, so you can easily visualise how adjustments will affect the sound.

In addition to the four main parameters available via the rotary controls, each program has up to 8 additional “internal” parameters which can be accessed and adjusted via the utility mode for truly detailed effect programming. The straight reverb programs, for example, have internal parameters which allow fine control of diffusion, low-frequency ratio, high-pass filter frequency, low-pass filter frequency, density, liveness, and early-reflection delay.

The Yamaha REV500 makes setup and testing easy with built-in snare and rim-shot samples that you can trigger from the front-panel AUDITION button. Single-shot and repeating modes are provided for added convenience.

The Yamaha REV500 provides both balance XLR and balanced/unbalanced phone jack input and output connectors for direct connection to professional or semi-professional equipment. The inputs and outputs also feature independent -10/+4 dB level switches for optimum level matching with most types of equipment.

Features

Dual input level controls with 4-point input level monitors.
Extensive MIDI control capabilities: program selection via MIDI program change messages, and real-time effect parameter control via MIDI control change messages.
Selectable “effect only” or “add direct” (original signal plus effect) output modes for convenient setup in mixer effect loop or series-connected applications.
Foot switch can be used for effect muting or effect selection with programmable select range.

Specifications

Released in: 1996

Made in: Japan

Frequency Response: 20 Hz–20 kHz (+1.0 / −2.0 dB)
Dynamic Range: 96 dB typical
THD: <0.03% (1 kHz, maximum level)
Input Channels: 2 (¼-inch phone or XLR jacks)
Nominal Input Level: +4 dB or −10 dB (rear panel switch selectable)
Input Impedance: 20 kΩ
Output Channels: 2 (¼-inch phone or XLR jacks)
Nominal Output Level: +4 dB or −10 dB (rear panel switch selectable)
Output Impedance: 150 Ω
A/D Conversion: 20-bit (64× oversampling)
D/A Conversion: 20-bit (8× oversampling)
Sampling Frequency: 44.1 kHz
Program Memory: 4 types (Hall, Room, Plate, Special) with 25 programs per type
Power Consumption: 15 W
Dimensions: 45mm x 480mm x 227.9mm
Weight: 3.5 kg

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Yamaha REV500 Digital Reverb User Reviews

What a surprise!

By Gary Rogers

Sound Quality 90%

Build Quality 90%

Usefullness 90%

Mojo/Funk 70%

Reliability 100%

I was not sure where this fitted in with Yamaha’s line of reverbs, was it a top end model or a low end. One listen and I was surprised to find it must be near their top end as it sounded very good indeed. Not your typical Yamaha design styling but don’t let the looks put you off, it is a great reverb.

Used it? Leave your rating and review.

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Effects Presets

Hall

No.	Title	Effect Type	Description
1	Large Hall 1	REVERB	Standard hall-type reverbs that simulate large halls with good acoustics. May be used with any instrument. “Large Hall 1” is bright; “Large Hall 2” is slightly darker.
2	Large Hall 2	REVERB	Standard hall-type reverbs that simulate large halls with good acoustics. May be used with any instrument. “Large Hall 1” is bright; “Large Hall 2” is slightly darker.
3	Empty Hall	REVERB	A reverb that simulates the feel of a large hall with no audience.
4	Big Slap Hall	REVERB	A bright reverb with breadth, thanks to slightly emphasized early reflections.
5	Arena	REVERB	A reverb with the low-range characteristics of an arena-sized concert space.
6	New Hall	REVERB	A bright reverb with a punch.
7	Wonder Hall	REVERB	A light, bright hall reverb. Good with percussion.
8	Dark Hall	REVERB	A rather dark hall reverb. Recommended for use with songs in minor keys.
9	Church 1	REVERB	Reverbs that simulate the acoustics of high-vaulted cathedrals. “Church 1” is dark; “Church 2” is brighter, with more reflections.
10	Church 2	REVERB	Reverbs that simulate the acoustics of high-vaulted cathedrals. “Church 1” is dark; “Church 2” is brighter, with more reflections.
11	Medium Hall 1	REVERB	Standard medium-sized hall reverbs. “Medium Hall 1” is bright, with many reflections; “Medium Hall 2” is dark and dense.
12	Medium Hall 2	REVERB	Standard medium-sized hall reverbs. “Medium Hall 1” is bright, with many reflections; “Medium Hall 2” is dark and dense.
13	Concert Hall	REVERB	A hall-type reverb with natural-sounding acoustics.
14	Small Hall 1	REVERB	Reverbs that simulate acoustically ideal small halls. “Small Hall 1” is bright and live-sounding; “Small Hall 2” is somewhat darker.
15	Small Hall 2	REVERB	Reverbs that simulate acoustically ideal small halls. “Small Hall 1” is bright and live-sounding; “Small Hall 2” is somewhat darker.
16	Gothic Hall	REV+CHO	A hall reverb with a growling chorus attack. Good for vocals and solo instruments.
17	Ballade Voc 1	REVERB	Longish hall reverbs for use with slow vocals. “Ballad Voc 1” is bright and dense; “Ballad Voc 2” is dark and slightly less dense.
18	Ballade Voc 2	REVERB	Longish hall reverbs for use with slow vocals. “Ballad Voc 1” is bright and dense; “Ballad Voc 2” is dark and slightly less dense.
19	Rev for Pads	REV→FLG	A long reverb with flanged high ranges, for a spacy sound. Good with pad-type synths.
20	Ensemble Rev	REV→FLG	A short reverb with a warm flanger sound. Good for strings and organs.
21	Chorus Reverb	REV→CHO	A hall reverb with chorus added for extra thickness. Good with pianos and pad-type synths.
22	Slapped Echo	ECHO→REV	A reverb that captures the feel of an analog delay or tape echo. Good with vocals or solos.
23	Flutter Hall	REV→GATE	A gated hall reverb with a long pre-delay.
24	Kick Gate	REV→GATE	A gated hall reverb, intended for use with bass drums.
25	Snare Gate	REV→GATE	A gated hall reverb, intended for use with snare drums.

Room

No.	Title	Effect Type	Description
1	Large Room 1	REVERB	A reverb that simulates a large room with hard walls, for a slightly quirky thick sound.
2	Large Room 2	REVERB	A large room reverb, slightly drier than “Large Room 1.”
3	Live Gate Room	REVERB	A room reverb with a very live nonlinear sound. Good with drums and guitars.
4	Live Room 1	REVERB	Reverbs that simulate the sound of a room with live acoustics. Use “Live Room 1” to simulate greater distance from the sound source, or “Live Room 2” for front-row seats.
5	Live Room 2	REVERB	Reverbs that simulate the sound of a room with live acoustics. Use “Live Room 1” to simulate greater distance from the sound source, or “Live Room 2” for front-row seats.
6	Bath Room	REVERB	A simulation of the reverb in a tile-walled bathroom.
7	Medium Room	REVERB	A live-sounding reverb with the feel of a medium-sized recording studio.
8	Garage	REV→GATE	A reverb that simulates the sound of a garage performance.
9	Ring Studio	REVERB	The nonlinear reverb sound of a small studio with emphatic high-range acoustics.
10	Empty Store	REVERB	A reverb simulating a room with nothing in it.
11	Add to Dry Mix	REVERB	A room reverb that can add live sound to a dry two-channel mix source.
12	Heavy Bottom	REVERB	A room reverb with an emphasized low range, for a powerful sound.
13	Bright Room 1	REVERB	A bright room reverb with extra early reflections.
14	Bright Room 2	REVERB	A room reverb that sounds smaller, but more dense, than “Bright Room 1.”
15	Small Room	REVERB	A standard small room simulation.
16	Tiny Gate Room	REVERB	A somewhat dead nonlinear small room simulation.
17	Wood Room	REVERB	A small room simulation, dark and dead.
18	Compact Room	REV→DFILT	A very small room, simulated with short reverb and a dynamic filter.
19	Soft Space	REV+CHO	A short reverb with chorus. Adds a soft ambiance to drums, solos, and vocals.
20	Room Ambience	REVERB	Slightly coarse echo room simulations. Good for vocals and solo instruments.
21	Echo Vocal	REVERB	Slightly coarse echo room simulations. Good for vocals and solo instruments.
22	Tunnel 1	REVERB	Reverbs that simulate the acoustics inside a long tunnel. “Tunnel 2” is darker than “Tunnel 1.”
23	Tunnel 2	REVERB	Reverbs that simulate the acoustics inside a long tunnel. “Tunnel 2” is darker than “Tunnel 1.”
24	Opera	REVERB	Reverbs that simulate large rooms with marble walls. “Opera” is bright, whereas “Cathedral” is dark.
25	Cathedral	REVERB	Reverbs that simulate large rooms with marble walls. “Opera” is bright, whereas “Cathedral” is dark.

Plate

No.	Title	Effect Type	Description
1	Basic Plate	REVERB	A simulation of a metal plate echo effect.
2	Beauty Plate	REVERB	A bright, highly dense plate reverb.
3	LA Plate	REVERB	The bright, transparent plate sound that is popular on the West Coast.
4	Delayed Spring	REVERB	A spring reverb simulation with a longish pre-delay.
5	Fat Plate	REVERB	A rather coarse reverb with extra low-range energy. Good with vocals and solos.
6	Light Plate	REVERB	A bright, light plate sound.
7	Thin Plate	REVERB	The plate echo that would be created by an extremely thin metal plate.
8	Rev with Tail	REVERB	Complex reverb with a sub-reverb tail (when INPUT SELECT is set to L-MONO).
9	Short Plate	REVERB	A short, somewhat dark plate reverb.
10	Perc. Plate 1	REVERB	A short, bright plate reverb for percussion. Adjust the pre-delay to match the tempo.
11	Perc. Plate 2	REVERB	A short, light-sounding reverb. Perfect for cymbals.
12	Long Plate 1	REVERB	Three longish plate reverbs, each of which features different high-range characteristics.
13	Long Plate 2	REVERB	Three longish plate reverbs, each of which features different high-range characteristics.
14	Long Plate 3	REVERB	Three longish plate reverbs, each of which features different high-range characteristics.
15	Vocal Plate 1	REVERB	A plate reverb for use with vocals. Designed for ballads and other slow songs.
16	Vocal Plate 2	REVERB	A slightly darker-sounding reverb than “Vocal Plate 1.”
17	Vocalese	REV+CHO	A slightly chorused reverb. Good with guitars and keyboards.
18	Live Plate	ECHO→REV	An echo/reverb combination for vocals and solo instruments during live performances.
19	Industrial Rev	REVERB	A short plate reverb with a chopped low range. Good with analog rhythm machines, etc.
20	Strings Space	REVERB	Plate reverbs with very long reverb times. “String Space” is bright with a broad bandwidth, whereas “Cave” is dark with heavy low-range components. Good for pad synths.
21	Cave	REVERB	Plate reverbs with very long reverb times. “String Space” is bright with a broad bandwidth, whereas “Cave” is dark with heavy low-range components. Good for pad synths.
22	Super Long	REVERB	A plate reverb with a very long tail (when INPUT SELECT is set to L-MONO).
23	Mod Plate	REV→SYM	A reverb with symphonic effect. Good for guitars and keyboards.
24	Water Reverb	REV→FLG	A slightly flanged long reverb. Beautiful used with guitar arpeggios, etc.
25	Gate Plate	REV→GATE	A plate reverb with a gate envelope. Good with snare drums and such.

Special

No.	Title	Effect Type	Description
1	Flange Room	REV→FLG	A short reverb combined with a flanger. Good with organs, strings, etc.
2	Reverb Chorus	REV+CHO	Short reverbs combined with chorus.
3	Chorus Circles	REV+CHO	The longer pre-delay of “Chorus Circles” emphasizes the sense of separation between the reverb and chorus effects.
4	Rez Sweep Hall	REV→RESO	A flanger-like effect with a resonance point that varies with the input level.
5	Shadow Reverb	REV→RESO	A reverb with the resonance point set at E.
6	Sweep Reverb	REV→FLG	Four variations on the reverb/flanger theme. The flanger effect becomes more pronounced as the program number increases.
7	Rev Flange 1	REV→FLG	Four variations on the reverb/flanger theme. The flanger effect becomes more pronounced as the program number increases.
8	Rev Flange 2	REV→FLG	Four variations on the reverb/flanger theme. The flanger effect becomes more pronounced as the program number increases.
9	Heavy Flange	REV→FLG	Four variations on the reverb/flanger theme. The flanger effect becomes more pronounced as the program number increases.
10	Pan Reverb	REV→TRM	Five combinations of reverb and tremolo. The tremolo becomes faster as the program number increases.
11	Rev Tremolo	REV→TRM	Five combinations of reverb and tremolo. The tremolo becomes faster as the program number increases.
12	Skinny Plate	REV→TRM	Five combinations of reverb and tremolo. The tremolo becomes faster as the program number increases.
13	Shake Shake	REV→TRM	“Shake Shake” uses square wave modulation for a pronounced tremolo effect. Adjust the tremolo speed to suit the song.
14	Sample & Hold	REV→TRM	“Sample & Hold” uses square wave modulation for a pronounced tremolo effect. Adjust the tremolo speed to suit the song.
15	Pan Feedback	ECHO→REV	An echo with more feedback further away from stereo center. (Use with INPUT SELECT set to STEREO.)
16	Long Echo	ECHO→REV	An effect that combines a repeat delay with a short reverb.
17	Dyna Filter 1	REV→DFIL	Effects that change the sound depending on the input level; turns acoustic drums into synth drums. “Dyna Filter 1” has a long decay.
18	Dyna Filter 2	REV→DFIL	Effects that change the sound depending on the input level; turns acoustic drums into synth drums. “Dyna Filter 2” has a short decay.
19	Dyna Filter 3	REV→RESO	“Dyna Filter 3” uses the resonator for a different effect.
20	Backward	REV→CHO	An attempt at a reverse gate effect. Good with drums and guitars.
21	Industry	REVERB	A special effect that uses the maximum pre-delay and early reflection settings.
22	Natural Gate	REV→GATE	Four gated reverb variations. Change the hold time and gate level as needed for the best effect.
23	Drum Fizz Gate	REV→GATE	Four gated reverb variations. Change the hold time and gate level as needed for the best effect.
24	Techno Gate	REV→GATE	Four gated reverb variations. Change the hold time and gate level as needed for the best effect.
25	Gate for Loop	REV→GATE	Four gated reverb variations. Change the hold time and gate level as needed for the best effect.

Audio Samples

Yamaha REV500 Digital Reverb Audio Samples