Yamaha PRO R3

Reverb unit in the 2 units remembering these two ancestors, REV and REV 5 7. Is between either XLR or by Jacks 6.35 mm, in both cases in symmetry active. The choice of working level is -10 dB or +4 .. Note the absence unforgivable / O AES / EBU or SPDIF. Therefore unable to interface the Pro R3 in a 100% digital .. This bike is of course totally stereo.
It also has an equalization passive, active and modulated very interesting. The passive equalization consists of a semi-parametric equalizer placed on fully analog signal input and adjustable with real knobs which allows, for example, well shine reverb tails on a sibilant singer movement in no time. This may not seem like much but it's terribly practical in the heat of the action!

UTILIZATION

This is a Yamaha, so ergonomics is particularly well damn. Difficult to get lost in menus that are sometimes obscure in the competition. Actually everything is perfectly logical and well arranged (as often in the constructor). The façade is decorated with a function key, tidy by families, and having, for the most important of them, an LED signaling their status. Pro R3 also has a numeric keypad. With this program access 81, delay time of 843 ms or the coeff. In acute happening in 0.5 second and the first time. As their range REV (7 and 5) or on a .. Eventide H3000

If you do not mind we will describe the buttons on the front:
Firstly, as mentioned above it should be noted the 6 knobs corrector semiparametric as well as view and a pair of concentric knobs adjusting the input level and a classic red dual display with an equally classic backlit display 48 characters on two lines.
Then come three distinct frames, each comprising a number of keys. The first, the "Data / Cursor" and four arrows to navigate in a display window. The second, "Parameter", offers direct access to a number of essential functions which usually with other manufacturers 25 shares of a button .. At this stage, it should be noted the division into two settings available on each preset: the "Main" or the main and "Fine" or secondary. It is a little like home Lexicon, this simplifies somewhat the use of the device, the editable parameters that constitute a program can be very numerous, and mostly relegates certain orders of sight newbies .. Indeed, who has never bitched against small student is as nice as devoted, and that turned your beautiful room simulation to multiple echoes clocked pace gradually drowning in a beautiful reverb modulated the barrel? Go, lift your finger! So thank you Yamaha! In the same context it is the gate and digital equalizer effect, also benefitting from switching on and direct access. The last three buttons: "Level", "Compare" and "Others", completes the bet Parameter.
"Level" is, as its name indicates, levels and scales effect. "Compare" is used to realize the difference between a preset obligatory starting point, and his own creation. "Other" is a catch-all that contains the names and publisher of the controller via MIDI assignable parameters. Passing the keypad above, to reach the four commands own memories, namely "Progam", "Store", "Cancel" and "Recall", for which you will pardon me explanations as to their functions .. This leaves only three buttons to detail, including a quite brilliant, the "Infinite" and two more classic, the "Bypass" (no comment ..) and "Utility".
As one who has never set his reverb 99 seconds raises his hand. Great is not it? Yes, but then what a waste of time to get there and often with other models of noise! Nothing all that here, we may very well be working on a small simulation short, simply press the "Infinite" to hear its reverberation literally freeze on itself, creating a new effect is very interesting and very creative. I think it is worth mentioning that no hardening of sound accompanies this action ..


SOUND QUALITY

It is important to note that it is important not to rely on listening Rapid Pro R3 because it has a potential that goes well beyond! Detailing some possibilities processor, it either has a complex effect type Reverd, thoughts or simulation of a complex piece or two computation blocks, consisting of a reverb and a second end, So like an echo, chorus, transposer, flanger .. etc. .. that can be put in any order you want, with what-are grafted, the dynamic filter, compressor, gate and digital equalization.
So this machine is not just a reverb while it also offers a range of effects, namely a pitch shiffer good quality, nice chorus effects, a bit of time for improvement and cohort usual Yamaha as symphonic .. flanger .. etc. .. But especially a stereo compressor perfectly usable, it is rare enough to highlight!
To return to the equalization section, as seen above, it can be passive, active or modulated and made this bike is capable of creating spaces totally wacky and evolving with its envelope, the same type of program that is sometimes lacking cruelly on other machines or plugs, and that makes all the difference!
To return to the sound of the Pro R3 and in particular its reverb, its springs, dense, shiny and rich (too much at times). In fact, the factory presets, Yamaha hand was a bit heavy on the set of coeff. treble and the parameter Liveness .. Once these settings are retouched everything is in order. Slight modulations that can be added to reverb tails can give if a small side "Lexiconnien" nice, of course it will never have the finesse of PCM91/96 or a Reverb 4000 in Tc, but its real strength is to propose a different color, a different approach to it before the reverb as its predecessors REV 5 and 7, against her will be more comfortable with all types of sources than the latter.


OVERALL OPINION

Aside from the huge blunder builder forks omitting all digital inputs and outputs (!??!) There is nothing to say bad about this unit and try to find a fault is definitely a very ungrateful task . The only recommendation I can make that will repay the applications or force will prevail over finesse, I mean, on sources with a high need grain and enjolivage.
Going back a few minutes on the lack of digital inputs / outputs, note however that even if the converter inputs and outputs provide a 20-bit resolution with a sampling frequency of 44.1 kHz only, the sound of the Po R3 is incredibly natural with a breath very far behind the useful signal .. She blows less than Tc Electronic M3000 .. And no quantization noise is noticeable even with a low input level ..
To conclude this Pro R3 is an excellent choice if you want to expand your rack machine offering a different approach to this so popular .. reverberation ..