Yamaha REV500 Digital Reverberator
The Yamaha REV500 delivers extraordinary reverb depth and resolution for ambiance that can only be described as “alive”.
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The Sony DPS-R7 was the first in a new digital effects line up from Sony, it's success spawned a number of other effects using the same architecture as the DPS-R7.
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The Sony DPS-R7 is an excellent digital reverb that still stands up today, with it's full bandwidth and excellent reverb algorithms, it is hampered only by it's truly awful interface if you wish to program it.
Quality-conscious design – A/D and D/A high performance converter
The Sony DPS-R7 converts the incoming analog signal to a digital signal, passes it through various effects, than re-converts it to an analog signal before output. The determinant to the sound quality is the conversion mechanism that adopts the 18-bit oversampling stereo A/D converter and the pulse D/A converter of 40.96 MHz. These account for highly accurate, less deteriorated effects.
User-friendly and comfortable operation
The large size backlit LCD of 40 characters by 2 lines makes it possible to proceed with smooth operation while viewing the operating condition in real time. Moreover, the LCD display incorporates an on-line manual (in English) which displays information required for operation.
Abundant preset memory settings
The unit has a hundred variations of the effects created by musicians, sound mixers and acoustic engineers around the world in its preset memory. This will help you select and replay immediately the desired effects for a particular purpose.
Sound creation of any kind
The EDIT function allows you to modify the presets or to create some individual effects. Besides the preset memory for a hundred effects. the unit has a so-called user memory where you can save up to 256 effects you are going to create. Using this memory allows more varicolored play of effects.
Wide range of effects
The Sony DPS-R7 consists mainly of a reverberation block together with an input block, a pre-effect block, a post-effect block and an output block for signal processing. For Processing signals with stereo-input/stereo-output in the reverberation block, one of 5 types of ST-ST algorithms is available, while the monaural-input/stereo-output processing allows you to take any two types of MONO-ST algorithm.
One of the six types of algorithms can be used in the pre-effect block and one of seven in the post-effect block. By combining these blocks and algorithms used in the blocks, a wide range of effects will be able to be created according to the input source.
Remote control
The remote commander (not supplied) makes it possible to remotely control the Sony DPS-R7.
2 types of I/O connectors are provided
The Sony DPS-R7 has XLR connectors (balanced-type) and phone jacks so that it can be connected to instruments, recording equipment or PA (public address) equipment.
Linkage with MIDI equipment
The MIDI device incorporated in the Sony DPS-R7 can receive program change signals from another MIDI equipment connected so that the Sony DPS-R7 can be controlled by the MIDI equipment connected. Thus, it can function as an effector when connected to digital instruments. In addition, controls from PC‘s or MIDI sequencers are very helpful for composition.
Released: 1991
Quantization: 18 Bit
Sampling Frequency: 40kHz
Frequency Response: 10Hz-18kHz
Signal to Noise: > 90 dB
Dynamic Range: > 90dB
THD: Below 0.004%
Preset Memory: 100 effects
User Memory: 256 Effects
Dimensions: 482mm x 44m x 320mm
Weight: 4.8kg
Sony RM-DPS7 Remote
Vocals Dry
Hall Reverb
Brilliant Hall Reverb
Dressing Vocal
Glass Voice Chorus
Perc Gold Plate Tight Reverb
Gold Foil Plate Reverb
Drums Dry
Drum Booth Ambient Reverb
Perc Gold Plate Reverb
Power Gate Reverb
Studio Ambience Reverb
Gated Reverb
Gold Foil Plate Reverb
Guitars Dry
Small Studio Ambience Reverb
Brilliant Hall Reverb
Lost In A Cloud Reverb
Short Long Plate Reverb
Brass Dry
The Brass Gate Reverb
Brilliant Hall Reverb
Plate Flanger
Standard Large Hall Reverb
Community Score
USERS
(6 Reviews)
By Marcus
This is clean and can be uncoloured. It is the reverb I go to when I want to match or augment a natural reverb already recorded. It can be basically nu-identifiable even on a simply miked acoustic recording. (I have over a dozen hardware reverbs and no others can do this function as well.)
By Anonymous
By Anonymous
I have AMS RMX 16, AKG BX20, A Plate, still this is on every mix since I got it one year ago. Fantastic “real” reverb sound that beats all plugins.
By Miguel
Obviously better than using a plug in reverb. Perhaps a little noisy but nothing important because you can fix it with a good input/output balance. Clean reverb and good early reflections, good presets and a lot of parameters to configure your own user banks.
By Anonymous
I can remember back in the day when the Sony DPS-R7 was first released dreaming of owning one but they were too far out of reach back then, now prices on these things are falling daily to stupidly low levels, and after trying one in my rack all I can say is get yourself one. Way better than any plugin I have used and build quality is great. Forget about editing as the interface is bloody confusing so just go with the presets as they are excellent.
By Steven
I really liked the R7, it offered really nice reverbs with smooth tails, a very useful reverb for anyone looking for a good hardware reverb that still stands up today. My only complaints are the user interface once again, plus it was somewhat noisy. Regardless of the specs I found it to be noisier than the older Sony MU-R201, so I kept the later.
The Yamaha REV500 delivers extraordinary reverb depth and resolution for ambiance that can only be described as “alive”.
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ALL IMAGES ARE THE COPYRIGHT OF VINTAGE DIGITAL AND CAN NOT BE USED WITHOUT WRITTEN PERMISSION
COPYRIGHT © 2014-2020 VINTAGE DIGITAL | ECOMMERCE WEBSITE BY RETAIL LABS
ALL IMAGES ARE THE COPYRIGHT OF VINTAGE DIGITAL AND CAN NOT BE USED WITHOUT WRITTEN PERMISSION