Vintage Digital

Other Digital Effects

Classic Recording Studio Equipment

Digital Effects Processors are everything that is great about digital signal processing, and provide multiple effects in a single box. Everything from digital reverb, digital delay and modulation effects are included. The ability to combine these effects takes everything to another level altogether. Eventide was one of the very first companies to head down this path with the Eventide H910 Harmonizer. The H910 was the world’s first commercially available digital audio effects processor. The H910 combined pitch effects with delay and feedback to create a very unique device for the time. The success Eventide enjoyed with this first product spawned many products over the years, and Eventide deservedly own the multi-effects processor market  to this day. Their latest product the Eventide H9000 is an extraordinary bit of technology that will take them through the next decade.

A number of companies over the years have tried to take on Eventide, some with great success, some not so much. One such company that did succeed was Yamaha with their range of SPX signal processors. Yamaha introduced their SPX90 processor in 1985 and it offered everything from reverb to delay, chorusing and a multitude of other effects in a single rack space. The SPX90 was a massive hit for Yamaha who followed it with a string of even better processors. Companies like Alesis, Ensoniq, Korg, Kurzweil, Lexicon, Roland, Sony and TC Electronic all got into the multi-effects processor market with varying degrees of success. There are however some real standout products for those looking to buy hardware based multi-effects processors besides the Eventide and Yamaha offerings, and that includes the Ensoniq DP/4 and DP/4+ processors, as well as the Sony DPS-V77.

There are few if any plugins that can compete with a hardware based multi-effects processor like the Eventide products, however there is one: The SoundToys 5 collection is an amazing set of plugins that work together to do much of what an Eventide processor can do, and there is good reason for that. The guys who design SoundToys plugins are the same guys who designed the algorithms in the Eventide processors. So if you can’t afford a classic old Eventide H3000, then take a look at the SoundToys 5 collection, it is worth every cent!

Korg had made a number of effects units by the time the Korg A1 was released, and for this unit they went all out to match the competition. The Korg A1 was designed to surpass the usual limitations of digital multi-effect processors.
The Eventide H3500 is capable of creating effects you have never heard before (1992) and is fully MIDI controllable with click less, real-time MIDI control. The Eventide H3500 incorporates all the effects of the Eventide H3000-SE, plus the Mod Factory dynamic presets, and the Eventide HS322/395 Sampler card.
After a digital reverb and a digital delay, the next logical choice for Sony was a modulation processor, and that is exactly what they delivered with the Sony DPS-M7. With the new Sony DPS-M7, Sony continued to improve the sonic characteristics of the internals, with the DPS-M7 showing even better noise floor performance than even the DPS-D7 that preceded it.
After the digital reverb, digital delay and then a modulation processor, what could Sony release next? A dynamic filter, which lacked the appeal of the first three effects in the DPS line up. The Sony DPS-F7 is suited to keyboard players that studios, as it generates rather interesting effects for keyboards including vocoder and synthesizer. Having said that, creative engineers could find great use for this effect in their racks.
Ensoniq were a keyboard manufacturer back in the 1980s, but their legacy seems destined to be their first multi-effect processor, the Ensoniq DP/4. Using their experience from keyboards and samplers, Ensoniq developed their first effects processor in 1992 towards the end of their keyboard era, and to this day, the Ensoniq DP/4 is still sought being after.
The Yamaha SPX990, regardless of the name came after the Yamaha SPX1000 and continued the Yamaha tradition of providing superb quality. The Yamaha SPX990 effect systems offers 80 preset effect programs including accurate simultaneous natural reverberation and early reflections.
The EMT 248 Digital Audio Processor served as a versatile solution for handling audio signal processing, rendering individual sound effects and processing units obsolete. The front panel of the device features program modules that offer quick access to a range of functions.
A year before releasing the Sony DPS-V77, Sony decided to offer a more affordable multi-effects processor in the HR-MP5, a half rack sized processor. The Sony HR-MP5 is not what one would hope for if looking for a ‘Best of Sony’ and probably was not intended to be that. Aimed at home recording studios rather than top flight studios, Sony had great success with the HR-MP5.
You should never have to compromise your sound when you need multiple effects. With the Alesis Quadraverb 2, you will never have to compromise at all. The best effects processors in the world are known not only for their stunning sonic quality, but also for their versatility and processing power.
Roland made chorusing their thing, and cemented their place in history with the Dimension D, but by all accounts, it is the SDX-330 that is the best chorus processor. The sad thing is, by the time it was released in 1994, chorusing had pretty much run it’s course in recording and the sales of this processor must have been very low as they rarely ever come up for sale.
The Eventide DSP4000 Series Ultra-Harmonizers are multipurpose programmable digital audio signal processor with pitch change capability.  It is the latest and greatest in a line of pitch change special effects units stretching back to before most audio manufacturers ever heard of digital.
The Lexicon LXP-15 II offers a rich and distinctive palette of special effects, including 128 preset effects programs to get you started. Each program has up to five display pages of variable parameters that you can adjust for subtle or dramatic changes in the program’s sound, and you can store as many as 128 customized programs in user memory.
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