The effects are: delay / echo / harmonizer / sampler / reverb /
technology is analog / digital
all programs are ditables / no editor
the connection is on XLR in / out
midi in / thru
jack in / out on SMPTE
the machine is in 3U rackmount
Simpler you die
simpler you die
no manual (not my knowledge)
turning on the machine and you can read the user manual in 4 languages
lack of explanation of the sampling and management of noon and SMPTE
All effects can be used, and GPs ADAPTS
and more if affinity (harmonica)
I like everything and the machine makes me well (great sound)
I like everything
I know almost all machines of this era (AMS, EMT, lexicon, quantec, etc ...) and place among the great
this machine was costing the skin of the era .......
I place it among the best
careful if you buy one: Check the options
SMPTE card, sampling, telecomande, all machines have not
all rooms are arranged in Publison
Multi-effects with a wide range of reverbs, delays, echoes, etc. .. transposer is also a tonal level, and it is especially a multi-sampler and digital one-off effects to the image.
In addition, the compression / expansion time, ie the elongation or shortening of a sound message given is one of many schools this machine to do everything, which is able alone to bear a large number of vital functions in sound mixing / video and film. It is also capable of handling sound extravagant on relatively long sampling time, which also make it a full-fledged DVR.
This machine was widely used in the temples of the video post-production, and this is now very rare and that's a shame ..
Synchronizing multi-standard proposed by this machine enslaves effects in time code and makes it possible to program these effects (sampled sounds, reverb, delay, harmonizer, etc. ..) and to trigger the image closely, the fade one after the other. You can create 3500 temporary addresses for memories 400 effects and sampled sounds. One of the obvious interest of this process for video or film is to prepare a series of sound effects in relation to the image, which triggers when needed.
The sound samples are obviously manipulated at will, in point of entry / exit closures, chaining, inversion, and especially changes in pitch without acceleration / deceleration time and, conversely, modification time without change in pitch.
The first time I worked on it long ago, in the early 90's. I reused a few days ago and to my surprise, I soon realized that all users automatically that I took on this incredible machine almost 20 years ago, I came back almost immediately . Sign of a more ergonomic than successful in spite of the abundant number of parameters selectable and adjustable by the lack of controls accessible via the front panel or remote control remote.
Difficult to give a subjective opinion, even with this kind of product dating a good big twenty years, especially as the effects and possibilities are numerous. I will still try to answer as accurately as possible. First, the reverberations are still excellent and perfectly usable, they are very nice and silky but at the same time less well on some larger models Lexicon, Bricasti and Tc.
The delays and harmonizers tendon ducts and the many possible effects of them are in my opinion, and after comparative in-situ with an Eventide Orville still a tad below it. It is also true that 15 years separates these two machines .. Do not forget also that the Publison works for 16-bit linear sampling frequency of 50 kHz.
A little old machine known to the public but still highly significant and useful, it would be a shame to miss if you have the option to use would be that once .. A mythical machine of the universe must be pro-audio (re) discover urgently!