Studio Effects

One input jack, two output jacks, you choose the operating level (+4 or -20 dB), 16-bit linear conversion, 31.25 kHz sampling frequency, which results in a frequency range of 20 to 12 kHz, maximum. The effects can't be edited via PC, but those interested should know that besides being MIDI controllable, the SPX 90 also works with the lovely remote controls of the REV 7 and REV 5. You wouldn't believe how practical that can be when you don't have the SPX 90 in sight. On the other hand, these remotes don't have an editing screen, they only allow you to control some very simple parameters that don't need too "complicated" settings. But it's still not bad! UTILIZATION Given its simplicity, it's useless to describe the programming procedure, despite the limited number of buttons on the front panel and the number of parameters. To be true, the manual is superfluous. SOUND QUALITY When it came out (1986), the Yamaha SPX 90 wasn't the first digital multi-effects, far from that, actually. Ever since sound can be manipulated on the time axis you have effects with names such as chorus, flanging, slap back, pitch shifting, or simply echo. But it was more complicated to get a stable pitch transposition or a quality reverb, and that's where the SPX 90 really made a difference compared to other gear of the day. Set against other contemporary products, the reverbs of the SPX 90 are pretty convincing in most situations, less dense and complicated than those of the REV 7 or the Roland SRV 2000, obviously (since it doesn't have early reflections). Even if there are many plug-ins that are better nowadays, the SPX 90 has something particular: Its character which suits perfectly different uses. Try the reverse-gate to convince yourself. The chorus, flange and phasing effects are perfectly usable and appreciated, even if they are clearly outdated, they provide an undeniable "vintage tone." The Early Ref.1 and 2 modes, which help you determine the size of a simulated room are still truly excellent. OVERALL OPINION Bought in 1988, this formidable little machine has never left me "stranded." Even if it's fully outdated today in terms of technology, it still serves me well thanks to that "different" touch its effects have, which only it can reproduce. In short, I'll keep it still several decades and by no means out of nostalgia. What's more, it's Indestructible. It's far from the "disposable" character of some modern gear. Try it and you'll want it.

When you read an opinion as Previous, one can only perform all necessary! Chorus / Spat unique. analog. UTILIZATION Four buttons for four chorus effects but engageable sparment ... So 16 variations of effects. Indeed one button off and I said nothing of spending in love circuits. Plug-in fan go your way! (Having said that it is plug-in in AU), ditto for lovers of rglages endless! Spatialization ... you branch it is l. A bypass and a sound that you return the blow you all riquiqui stepfather. it works for everything synth guitar, bass, vocals ... you return to Mono (Stereo output of course) or Stereo. SOUND QUALITY Stro trs wide, suddenly there's air! chorus musical and sweet. And spatialization! unique, with the classical principle of reverse polarity, and adding in the other channel, but the alchemy of circuits gives characters trs staff. A signature, anything but transparent, but subtle. OVERALL OPINION I love it! iremplaable for me. It may well recess does not like that sound, it is not 36,000 things ... But he does it well! As for the price ... Well if the unit silent not good, not the sellers sell and the price go down! Also an important concept, no tubes, no tapes, printed circuits ... I do not see a commit could fail ... The buttons can be ... photos: https://www.modezero.com/roland-dimension-D.htm Why Universal Audio has taken the few effects that copy plug-in? it is not good compnie? https://www.uaudio.com/menu/products.html So read what they say: https://www.uaudio.com/webzine/2004/september/index4.html look at the end of the few studio effects Miraval (beginners and artists who have registered): http://fernould.club.fr/miraval.html year of release for those that Roland has branch: http://www.roland-museum.de/rec_fx.html

Those who say this pedal is worthless don't know what they're talking about: - Either they didn't read the manual - Or they don't know how to sing. Yes, because you need to, at least, know how to sing to use it and you can modify all the effects with the controls. It's quite intuitive and, in case you have any problems, the manual is very clear. USE Sounds can be easily edited, everything runs smoothly. The built-in Loop pedal could've been a bit more elaborated, but with only two pedals it's obvious that you'll be somewhat limited by the functionalities sometimes. In fact, live, it's hard to play with harmonies and, at the same time, trigger a loop because you need to push the Loop button with your hand. But that's anecdotal. SOUND QUALITY Very good quality. It sounds really good, even if some harmonies sound a bit metallic in the high end. Live, it's a real plus. OVERALL OPINION I've been using it for two years, in the studio to record quick takes and, live with an entire band or with a duo. It's good and beautiful.

Small digital reverb in 1U rack format, very easy to use but enough for live gigs. 32 effects that can be chosen via a rotary knob: 16 single effects + 16 dual effects. 1 knob to adjust the intensity of the effect. 1 LED lights up when you switch to the factory preset. UTILIZATION Very easy to use and intuitive. It has all the indispensable. For redundant things you can choose a more comprehensive and complex model. SOUND QUALITY Its main asset is the flawless Lexicon sound. I tried other reverbs of other brands, but their sound didn't convince me because it was very artificial, often metallic or imprecise. This one is perfect for my needs live. I use it to add a touch of reverb to the vocals and guitars, to give them more breadth without the need to worry about having to look for algorithms or any other bizarre things. And only when the acoustics of the venue itself don't add too much reverb already. OVERALL OPINION I've used it for 8 years and see no reason to change it. Ideal quality and ease of use.

See below for the list of effects. Personally, I use it mainly as a syncable resonant filter but also as a MIDI step sequencer (it even sends notes...). No PC editing, it's not rack-mountable, very digital, jack in for a mic, RCA for line or phono (it has a built-in RIAA preamp). RCA output. Midi In and Out. USE Everything is relatively simple and can be easily edited. The manual is clear and you might need to read it thoroughly to learn how to get the best out of the unit! SOUND QUALITY Effects are digital and a bit dated, so they can seem a bit cheap. But the fact that the effect can be synced to the MIDI tempo makes this machine really useful. In the worst case, you can avoid the internal effects and control the effects of an external expander via MIDI. The possibilities are huge. The analog-like step-sequencer made me buy two (one for the note, one for the filter). OVERALL OPINION I got one as soon as it came out, but sold it because I didn't know much about MIDI. It was only later that I realized the possibilities the unit offered and bought two of them. There's no other unit on the market that can do so much for so little money. Excellent value for money secondhand, but take your time to actually understand it.

It's one of the nicest reverbs around. There are basically three types of reverbs available: Plate / Chamber / Hall. Do note that the rack makes a lot of noise and the unit must be ventilated. Extending the remote is very easy, you only need to connect a Sub d-25 cable (but all 25 pins must be connected). It can be up to 40ft in length without any problems. It has two stereo inputs (it's a single engine unit), but it has four outputs A/B/C/D, for quadraphonic sound. So it can still be used for 5.1. UTILIZATION It's easy to get the feel of it, the parameters are clear, but be careful with the detuning when editing them, you need to wait a couple of seconds for the circuits to really adjust. Editing sounds is very easy, but also a bit limited. You may or may not find the sound you want, but you don't have to turn 20 knobs to find that out. SOUND QUALITY The reverb tails are very nice, but be careful with the sound sources. All elements with aggressive high mids, like electric guitars, make the input converters distort. Strings fatten in a magical way. The 12-bit converters give high frequencies a lot of warmth, it's very gentle given the definition you usually expect from this type of tool. OVERALL OPINION I've had it for 3 years. I bought it because it was a great deal, but it's a unit that needs to be disassembled every two months due to the processing cards that aren't perfectly adapted to the rack slots. Even at the current secondhand price, together with the QRS Quantec, it remains a reverb without any rivals in terms of results within a mix.

(Originally written by oxyde31/translated from Audiofanzine FR) Monolithic converter (PCM54 BURR-BROWN) with dual processor! Not bad for its time! CAUTION: All old Lexicon owners must change the chemical condensers which tend to leak. The acid corrodes the circuit boards (I serviced about 10 units within three years and they all had the same problem). UTILIZATION Stage and home studio SOUND QUALITY Very detailed, almost natural sound OVERALL OPINION I bought it pretty cheap because it had the problem I mentioned above, but I repaired it last spring. I used it for three jazz concerts last summer and it's a true JEWEL compared with the SPX9000 and other processors you usually find in live setups.

Two channels: Gate, VCA compressor, over easy/hard knee, peak limiter. UTILIZATION Very easy to use because it has only the most basic controls, which allows you to find the right setting pretty fast. SOUND QUALITY Fabulous, like the legendary 160, much better than the more recent versions (166A/166XT) Drums, bass, guitars OVERALL OPINION I've used it for quite some time in my studio, I generally use it for overheads with 2db gain reduction when recording. During mixdwon I use it on the toms, but sometimes also on the snare or kick.

(Originally written by plastok2/translated from Audiofanzine FR) Almost 800 presets: harmonizer, pitch, delay, rev, chorus, flange, phazer, doubler, etc. Two analog inputs and outputs Last device from the H3000 Series launched in 1992. UTILIZATION Pretty easy to use but I still recommend you to grab the user's manual from time to time. Clear and typical Eventide design (it's the same for all series). Huge preset number... (includes all presets of the previous series). SOUND QUALITY I love using it as delay and doubler effect. Some reverbs sound very nice. But the thing I like most is the wideness of the sound. Eventide is the reference if you want to create wide vocal ensembles or incredible stereo delay effects. The sound is warm. The unit has a more natural sound than the DSP Series, which have much more processing power. But when it comes to a The Edge doubler or delay effects, I prefer the H3500 because it provides a more "analog" sound. Good signal to noise ratio considering it's a modulation effect made in 1992. OVERALL OPINION When producing music it's important to have the possibility to quickly choose a certain sound color and the H3500 allows that. You can double lead vocals, process a snare with a fat gate reverb, add subharmonics to a synth, create a beautiful delay on a guitar recording, etc. The H3500 does all these better than most other processors!!!

Totally worth the money if you're still somewhere using the analog stage of recording or mastering! I see people selling this thing for 50 euros now, which is insane value for money. Me and my cousin bought this unit somewhere late 1993 in order to beautify old tape-recordings (often even from cassette-tape) and planned to also use it during mastering of new recordings, dance-mixes, remixes and own audio for film/video-productions. I liked it so much that I've also used it in the end-stage of mastering pre-recorded FM-radio broadcasts for years on end in the 1990s. Recently (in 2025) I dusted off the box and connected it again, and am honestly amazed by its quality output. Not only does it still work as new, it totally outperforms most of the (expensive) 'enhancer' and 'exciter' plugins that I've used for the last couple of decades. Even ones I paid for. If you solo out its output you can clearly hear what it does, and how well it does that. Behringer have truly delivered class audio processing with this device. Not sure how or what they've decided to create those harmonics with, but they truly work wonderful for the human ear. This device actually does what it says on the tin: The output creates airy crisp VERY warm sounding harmonics for the high notes, harmonics that remind me of old tube-amp artifacts from the late 1970s, it sounds purely analog to me. And its low end harmonics peak with truly sub-bass content of 80Hz and below, which also boosts the warmer end of the lower spectrum perfectly well. I will add a photo of how I've set it recently mixing a live performance which I've also recorded from the desk with the UltraFEX II EX3100 using Aux sends so I could control what instruments/mics should have what amount of added harmonics. The sound of this device sincerely amazes me still. It's the thing making an end product in audio sound warm and fuzzy. Just do some testing on the amount to add, find out the ratio between wet and dry before doing the actual productions, gigs or performances and you'll be glad you used it. The low-end can be too much quite fast, so use it scarcely, but if you high-pass the high harmonics set at its max frequency (around 8kHz) it's pure bliss for the human ear! Ever since rediscovering this unit I've started to also use it as a DJ, it works really well over large PA-systems too, even as an in-between before active speakers. THD is insignificantly low, and I/O is symmetrical/balanced so no worries there.

Simple not much to it but a must have for vocalist that have no technique. I have used this piece for over 7 years and it never disappoints me. It is a must have on the front end of singers that have little or zero mic technique. In 2005 I had a rock singer that came to the studio www.chrislieckstudios.com and he was all over the place as for levels. I looked around for pre amp that soften the hard notes but did not sound to compressed. After a long search I gave up and almost used my SSL to control the sound by over compressing. So it was suggested to me by a friend to buy this unit with the Summit Levelor as well (a must have as well) and I live on both of them. I took that singer and placed him in the booth and turned on the unit and the Levelor and there it was. The controls are simple and self explanatory. The Levelor has two knobs, but back to the Pre Amp, it can take great deal of level and input aside from the TUBE control. The Tube control is a bit sensitive. You have to use the pad when turning the tube up. I love this unit for vocals. We use it daily and no matter what other units I have I go back to it all the time. It is a bit sensitive on the input surprisingly and I don't like that but I normally pad the signal down if it is a vocalist. The tube control knob is very easy, turn it one way and you have more tube, the other less. It has a roll off for the lows and the highs. It has a line input on the front. I love it. UTILIZATION Simple as can be. Plug in mic, turn up the tube and enjoy. Not complicated at all. I have a few settings I use but not much to the unit. The input has a pad like most and there is one knob that allows more of the tube saturation and the tube is quite dirty on some mics and a bit cleaner on others. I use it with an AKG and it can be a bit dirty at times. The less tube the better in that you don't need a great deal of tube on must instrumentation such as acoustic guitars and other acoustic instruments. There is a roll off for the lows and a sweeping set frequency roll off for the top or high end. I don't use either of those much at all as I will use a plug in first or a one band digi EQ to roll off any low end noise that I get from the unit's tube that I do get at times. SOUND QUALITY It is a clean transparent pre amp with little color and very high quality. I put it up there with and against any other pre-amp in the world. I have been so satisfied from this purchase and it has saved my vocal sessions for years. Like I said it is a bit sensitive not like an API but still really great sounding and solid. The construction is really good. OVERALL OPINION A must have if you want that tube sound and old school sound. I have it in my rack and use it every day. I would buy it again today. I tell guys all the time that this pre is really great and if I had one pre amp that I had to have it would be this unit. I do love the Levelor along with it. I recommend that piece to go along with this pre amp. I paid about 1000.00 for both of the units and I would not trade them for anything or any pre amp out there in the market.

The Ursa Major SST-282 Space Station is a echo/delay/reverb unit that is pretty hard to come across from what I can tell. It's got a ton of versatility and although I'm not sure when these were made, it definitely looks pretty old. It's got an XLR input and stereo XLR outputs, and is powered up by a regular power cord. It is indeed a rack mountable piece of outboard gear. UTILIZATION The configuration of the Ursa Major SST-282 Space Station is definitely a unique one. For starters, it's got a series of buttons that allow you to choose between different types of preset delay and reverbs and a series of knobs to control your delay mixes. It then has a reverb/echo feedback knob, an echo delay time knob, and smaller knobs for input level and high and low cut. There are a few other parameters that can be manipulated here, but getting a real feel for how the SST-282 works will happen with putting in the time with it and checking out the manual for sure. SOUND QUALITY The sounds that are possible with the Ursa Major SST-282 Space Station are varied, as the device is extremely flexible. I've used it mostly on electric guitar and for a small amount of vocal effects, but any time you might be looking for some delay or echo, the SST-282 will be able to do the job for sure. In general it has a clean sound, but where it makes it's living is on it's ability to get interesting sounds that are hard to find elsewhere. The starting points that it offers up with the buttons are definitely cool, but I've gotten some crazy sounding effects with the SST-282 that go way beyond these more traditional tones... OVERALL OPINION I had actually first used the Ursa Major SST-282 Space Station in the form of a plug-in made by Princeton Digital, but then later got to use the real deal. While the plug-in is definitely a nice emulator, I was way more impressed with the real deal. I don't see too many of these in recording studios out there, and I don't really know anything about the price. I do know that the Ursa Major SST-282 is a unique device to itself and is one that is simply put, awesome.