Vintage Digital

Digital Reverb

Classic Recording Studio Equipment

Digital reverb, also known as artificial reverb, is a type of audio effect used in recording studios to simulate the sound of a natural acoustic environment. The first digital reverb units were developed in the late 1970s, with early examples including the EMT 250 and the Lexicon 224. These early digital reverbs used a combination of digital signal processing and analog-to-digital converters to create a convincing simulation of different acoustic spaces.

Digital reverb quickly became popular in the recording industry, as it provided a more flexible and cost-effective solution than traditional mechanical reverbs or echo chambers. Digital reverb units could simulate a wide range of acoustic spaces, from small rooms to large halls, and could be easily adjusted and automated to create dynamic and complex reverb effects.

Over time, digital reverb technology continued to evolve, with improvements in processing power, algorithms, and user interfaces. Today, digital reverb is an essential tool in the recording industry, and a wide range of software and hardware reverbs are available to suit different recording needs and budgets. Despite the advances in digital technology, however, many recording engineers still value the unique character and sound of traditional mechanical reverb units, and these continue to be used in certain recording environments.

Algorithmic Reverb All early digital reverbs are algorithmic reverb designs. Algorithmic reverbs are essentially delay lines that repeat on themselves to simulate reverb decay. The ‘algorithms’ used tweak each repeat usually with modulation and various other filters. Some of the worlds most loved digital reverbs such as the EMT 250, AMS RMX 16, Lexicon 224 and Lexicon 480L are all algorithmic reverbs. It is clear that not all algorithmic reverbs are created equal, and it is why to this day, those reverbs are so revered, their algorithms are superior to other manufacturers.

Convolution Reverb Convolution reverb is to reverb what sampling was to keyboards. Convolution reverb involves measuring a live space, and using this ‘impulse response’ applies it to the incoming signal to simulate that real space. Convolution reverbs works exceedingly well, and provides very realistic reverb. Early hardware reverbs to use convolution techniques were the Sony DRE-S777 and the Yamaha SREV1.

Reverb Plugins Today plugins like Audio Ease Altiverb provide hundreds of impulse response reverbs in a plugin format. Some of the ‘real’ spaces provided with that plugin are quite breathtaking. In particular, the Great Pyramid of Giza, a space no one will ever get to record in, sounds phenomenal. Most reverb plugins these days are either algorithmic, or convolution, and with today’s computer power, we can enjoy the very best sounding reverbs possible and for far less that what a hardware reverb costs. However, there is still some kind of magic in these older hardware reverbs that most of us just can not let go of.

Click here for a brief history of Digital Reverbs

With the coming of the Space Age, sound engineers will finally acquire power over acoustic space and time with the Ursa Major Stargate 323. They will create reverberant spaces of almost limitless variety, from tiny chambers to vast echoing canyons. They tune their effects to achieve a richness and realism that once seemed beyond the reach of any technology.
After working on delivering a high end digital reverb in the Yamaha REV1, they decided to tackle the other end of the market with the Yamaha R1000 digital reverb. By comparison, the Yamaha R1000 was most definitely not in the same league as it’s more expensive sibling, but it afforded home musicians a taste of digital reverb that delivered pretty good results.
The Ursa Major 626 replaced the previous model, the Ursa Major 323, by adding more memory which allowed for longer delay times. For those who loved the Ursa Major Stargate 323 and in particular the delay functions should seek out the Stargate 626 to take advantage of those longer delay times.
There are times when you won’t compromise on sound quality. When, no matter how difficult the material is, you must have reverberant effects that are perfectly smooth, clean, spacious, colourless. There are perhaps three or four computer-based digital reverb systems that achieve uncompromising sound quality. All sound quite natural (and relatively alike).
The Lexicon Model 200 was introduced as a more affordable reverb after the success of the Lexicon 224 had enjoyed, but it did not find favour with larger studios as the 224 did. The Lexicon Model 200 Digital Reverberator is an economical, general purpose digital reverberation device designed for recording studios, musicians, film/video production houses, and broadcasters.
The Lexicon PCM 60 was the first in a long line of PCM named digital reverbs and it offered an affordable entry into the world of Lexicon digital reverbs. The Lexicon PCM 60 was a good digital reverb however it never enjoyed the same sales or current legendary status as the later model Lexicon PCM 70 would enjoy upon it’s release.
In 1985 it would seem MXR employed the team at ART (Applied Research & Technology) to produce a digital reverb, based on the ART 01A, and it even had ART listed as the manufacturer on the front panel.
The ART 01A is a digital reverb from around 1985, that was also licensed to MXR and sold with the same 01A name on the front panel, but refereed to as the Model 191 on the rear.
The Yamaha REV7 was more affordable than the REV1 and found a home in many studios world wide. People seem to either love or hate these old Yamaha reverbs, in fact the Yamaha REV7 would have to be one of the most polarizing reverbs there is, with no in between it seems. But make no mistake, there is much love for this classic 1980s reverb!
The Lexicon 224X Digital Reverberator provides high-quality simulation of the acoustics of a variety of architectural spaces and a wide variety of special effects. The Lexicon 224X is an advanced two-in, four-out, all-electronic digital reverberation system. Its clean, natural-sounding reverberation is the result of blending digital audio hardware and software disciplines.
The Roland SRV-2000 is one of those classic old Japanese reverbs that while not perfect, is certainly perfect in some situations, and in particular for snare! Yes it is grainy at times, perhaps a little too bright and the reverb tails are not the smoothest, but it is these characteristics that give the Roland SRV-2000 it’s mojo and a place in your studio.
It’s no secret that the “EMT sound” is a key ingredient of many hit records. It’s been that way for over 25 years. The very first unit, the EMT 140, is still used by major studios. And the sound of their big digital units. the 250 and 251, is legendary. In 1985 EMT introduced the EMT 252, offering more features than the 250 and 251.
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