Vintage Digital

Classic Recording Studio Equipment

The Dynacord TAM 19 Stereo Multiflanger System was released in 1979 and produces unique flanging effects.
The dbx 163 and dbx 164 compressor/ limiters feature dbx’s Over Easy compression. Over Easy refers to a “soft-knee” compression characteristic that provides virtually inaudible gain control at ratios up to infinite compression.
The genuine advantage of the Sony PCM-1610 digital audio processor is its enormous potential to deliver drastically improved sound. Whereas analog recorders are saddled with performance limitations of one form or another, unlimited quality improvement is possible using digital technology.
The Mitsubishi X-80 Digital Recorder was a pioneering audio recorder that offered significant improvements in fidelity and accuracy over analog recording technologies upon its release in 1980.
The Lexicon PCM 41 was a huge success for Lexicon when it was released back in 1980 and even today you will still find them in use in major recording studios everywhere. The Lexicon PCM 41 was eventually replaced by the Lexicon PCM 42 which featured longer delay times, but retained the sonic characteristics of the Lexicon PCM 41.
The EMT 251 Digital Reverberation System, released in 1980 is a rather rare reverb unit, strangely less well known than the legendary EMT 250, which is replaces, regardless of its superior specification and functionality.
The 360 Systems Model 2800 Programmable Equalizer was a fairly unique product at the time of it’s release in 1980, with it’s tactile controls and programmability. Using a Z-80 microprocessor and CMOS memory storage, the 360 Systems Model 2800 Programmable Equalizer was able to store up to 28 user created EQ curves.
The Publison DHM B2 out of France is a stereo audio computer, which allows dual digital delays and dual pitch shifting effects, itpreceded the Publison Infernal Machine.
The dbx 165 is a professional single channel compressor/limiter that features the new dbx Over Easy compression curve. The dbx Over Easy compression curve permits extremely smooth, almost inaudible compression due to the gradual change of compression ratio around the threshold, instead of the customary sharp threshold.
The AMS DM2-20 tape phase simulator is the result of extensive research into the requirements and needs of the recording industry, for accurate simulation of tape phasing. Unlike other units of this kind, which solely mix the delayed signal with the original, the DM2-20 uses two independent delay lines to allow true ‘over the top‘ tape phase simulation.
There have been many digital reverbs over the years, but few are as revered as the AMS RMX 16, which you will still find in studios the world over, some 40 years later. That in itself is enough to indicate just how good this reverb unit is, but it is also the only ‘old’ digital reverb that is being remade now.
Roland’s first digital delay, the Roland SDE-2000 was a big hit when it arrived, guitarists took to it like a duck to water, as too did home recording studios. It may have had limited bandwidth with the relatively low sampling rate of 26kHz, but that did not stop the success Roland enjoyed with the SDE-2000, but it did kill off the Space Echo, for a while at least.