The Sony MU-R201 remained a fixture in professional audio long after the release of its intended successor, the Sony DPS-R7. Despite newer units being introduced, the Sony MU-R201 continued to appear in Sony catalogues, likely due to its immense and ongoing popularity in Japan. In Japanese studios it was common to find at least one Sony MU-R201 in the rack, and many studios had two. Its widespread use was not limited to studios alone, as it found favour in both recording and live sound environments.
One of its most well-known users was Yuji Sugiyama, a highly regarded Japanese engineer who worked with major artists such as Soft Ballet, X Japan and Luna Sea. Sugiyama was a strong supporter of the Sony MU-R201 and used it in both studio recordings and live performances. The unit was also associated with some controversy due to the claim that Roger Nichols may have used it on Steely Dan mixes, a topic that has been widely debated.
The reasons for the Sony MU-R201’s enduring appeal were many. It was well-built and sonically refined, with some of the stereo reverb patches standing out for their quality. The construction was also notable, particularly the ultra-rare remote control unit, which featured a solid steel casing and was built to a very high standard.
The Sony MU-R201 featured fully stereo circuitry from input to output, powered by a newly developed two-channel audio processing LSI known as the Digital Presence Synthesiser CXD1079. This dedicated stereo system enabled the creation of spatial effects that could not be achieved by simply combining two monaural reverberators. As a result, the MU-R201 produced clear, natural and expansive reverberation.
The unit came with 100 versatile preset effects, chosen with input from musicians, engineers and sound technicians from around the world. These presets were stored in memory and could be recalled instantly for any application. In addition to the factory presets, the Sony MU-R201 included user memory for storing a further 100 user-defined effects. The EDIT and EQ functions allowed users to customise existing reverbs or create entirely new settings, offering virtually unlimited creative potential.
The range of reverberation types available included ten fundamental modes and a host of supplementary effects. These included hall ambience, realistic room simulations, controlled plate reverbs, percussive multi-gate reverbs and complex reverse reverbs. A dual multi-delay feature allowed for up to twenty repeat outputs per channel. The unit also supported combinations such as reverb with gate and reverb with delay, significantly expanding its range of use.
Operation was designed to be straightforward and reliable, even in live settings. Memory selection and parameter adjustments were simple to navigate. Some modes allowed the Sony MU-R201 to function as two independent reverb units, enabling separate processing chains for different instruments. Up to twenty-six adjustable parameters were available for precise definition of sound characteristics, making it possible to create effects that extended beyond what could be achieved in natural acoustic spaces.
Further control was provided by a programmable two-channel four-band equaliser, with bands for LOW, L-MID, H-MID and HIGH frequencies. Equaliser settings were saved alongside effect parameters, allowing for seamless recall during performance or production. Remote operation was available through the optional Sony MU-RM1 remote control unit.
A footswitch, the FS-11, could also be connected to change memories, toggle effects on and off, or suspend them as needed. The Sony MU-R201 offered flexible connectivity, with support for both standard phone plugs and RCA-type phono connectors. A +4/-20 dB level selector ensured compatibility with both professional and consumer audio gear.
MIDI integration allowed the unit to receive program change messages from external devices, enabling real-time memory selection during performances. Effect levels could also be controlled using key touch and control change signals, making the Sony MU-R201 particularly well suited to use with digital musical instruments. It could also be automated using computers or MIDI sequencers, expanding its usefulness in studio environments.
The Sony MU-R201 employed advanced digital signal processing to preserve the spatial detail and stereo imaging of the original signal. By simulating early reflections and complex reverberant fields, the unit delivered highly realistic reverb. A two-channel digital signal processor and carefully crafted stereo algorithms powered all of its operations.
These algorithms supported effects such as delay, gated reverb and auto-panning, giving the Sony MU-R201 the flexibility to generate a wide array of distinctive and impressive effects. These core algorithms formed the basis of the unit’s ten main effect modes, and when combined with the extensive parameter controls, they provided a rich platform for creative sound design.
Features
- Fully stereo circuit design from input to output
- 100 factory preset effects created with input from engineers, musicians, and sound technicians
- User memory for storing an additional 100 custom effects
- EDIT and EQ functions for modifying presets and creating original effects
- Ten core reverb modes including hall, room, plate, gate reverb, reverse reverb, and delay
- Additional effects such as flash panning, dual reverb, reverb and gate, and reverb and delay
- Dual multi-delay capability with up to 20 repeat outputs per channel
- Ability to operate as two independent reverb units for separate sources
- Up to 26 adjustable parameters per effect for detailed sound shaping
- Programmable two-channel four-band equaliser with LOW, L-MID, H-MID, and HIGH bands
- Equaliser settings stored together with effect parameters for instant recall
- +4/-20 dB level selector for compatibility with professional and consumer equipment
- MIDI program change support for external memory selection
- Effect level control via key-touch and control change MIDI signals
- Stereo reverb algorithms simulate real-world reflections and depth
