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Is anyone still using hardware reverb units? Reverb/Delay Processors (HW)
Old 6 days ago
  #331
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Quint's Avatar
Use the reamp device and DI of your choice with your pedals. Discussion over.
Old 6 days ago
  #332
Gear Nut
 

Quote:
Originally Posted by juiseman View Post
So basically; if I setup my plugin reverb bus with a channel strip plugin/ then compressor before my reverb plugin...that will get me 90%-95% of the sound
of a classic hardware unit?
Not at all.
Why do you think the modern plugins creators spend so much time sampling the analog behavoiur of real analog devices to make a good emulation plugin?
I think the behaviour of a real signal inside electric circuits is impossible to reproduce by a computer and it is what makes the difference.
Old 6 days ago
  #333
Gear Head
 

When they come and want you to listen to their new VST plug in , because they like the way it is spelled ..How can you argue that logic?

I got some piece/peace of mind when I could look behind the faceplate, lift the lid, and see how much stuff is inside. Single transformer, dual, how the circuit board was populated. That's not this.
Old 6 days ago
  #334
Gear Addict
The thing I always find is when I want some reverb, the plugins don't sound like reverb, but the hardware does sound like reverb
Old 6 days ago
  #335
Lives for gear
 
ionian's Avatar
Quote:
Originally Posted by Quint View Post
Use the reamp device and DI of your choice with your pedals. Discussion over.

See post #288
Old 6 days ago
  #336
Gear Maniac
 

I know, Italo is very passionate about reverbs, and I think it’s good, very good. You should understand though that you speaking to him it’s like astronauts talking to spaceship engineer.

You may be able to fly this thing but he is the one who builds them.

No offense to anybody!
Old 6 days ago
  #337
A while back I bought the Digitech Polara Pedal which has some Lexicon Reverbs on it. I got it mostly just for live playing with my Synths. However I couldn`t resist using it for the production of a tune, just to see what it`s capable of doing. It`s also a good way to find all the flaws, first one being that it was not possible to get a 100% wet signal. That`s obviously a big deal for a number of reasons. Another problem was the low end rumble it created with some signals. So I was forced to filter that out leaving some sounds a bit thin sounding. However I managed to produce a decent sounding tune. If you know what you`re doing, you can get away with using a good reverb pedal in your productions, but personally, I would not do it again. Too many limitations and too little control. It`s never going to sound as good as my other Lexicon racks.
Old 6 days ago
  #338
Lives for gear
 
cjogo's Avatar
Almost exclusively now .. maybe one plugin for bass .. the rest from the racks.
Old 6 days ago
  #339
Lives for gear
 
italo de angelis's Avatar
 

You found out a big truth (and fail) at your expenses, unfortunately!

So, Digi"tech" came up with this "we put Lexicon reverbs" in our pedal marketing thing... amazing!
What they did?
-first they cannibalized from the Lexicon MPX-1 reverbs, which came off the PCM80/90 series. On both Lexicon series they run on a dedicated Lexichip II processor, custom made for Lexicon... not the usual peanuts most other companies have been using.
Now you have to know that the MPX-1 reverbs, no matter their names... Hall, Chamber, Plate, Gate, ... they all ARE based on the PCM Chamber algorithm; so there is no real Hall and, worst... no Plate. These types of reverbs require a dedicated algorithm as the envelope of the reverb and its tonal response is very different from a Chamber. Lexicon *halls* in history are two, Concert Hall and Random Hall. That's what you want to look for in a Lexi box... and own.
-so Digi"tech" takes these Chamber in disguise algorithms and does who knows what to them... then puts them in a pedal format, whose UI sucks by nature.
Unless you build a pedal with a real display to show plenty of parameters (which is an expensive choice for a company AND for the end user), they go for the typical pedal cheap interface... a bunch of knobs. Bad choice.
That "thinking" forced them to block hidden parameters to a pre_set value or link them to others via control tables so that when you cange something on a knob other parameters you don't see are changing too.

You have Lexicon racks so I assume you are very familiar with their classic milestone paradigm in reverb design... you have a Mid RT parameters, a Low RT, and X-over. Add to that Size.
How these things work?
Size mimics the space volume (cubic meters), actually scaling the reverb internal delays and also controls the Mid RT decay time, logically, if you keep them linked (you can unlink them if you like). Mid RT sets the reverb decay time for the Mid (and high frequencies) while Low RT is a multiplier which scales the low freq. reverb decay time value in relation to the Mid RT decay time value; X-over splits the 2 freq. bands.
Example:
your X-over is set at about 900Hz
your Mid RT lives on 3.10 seconds
your Low RT is set to x1.2
means that the verb decay for frequencies above 900Hz is 3.10 seconds while the decay time for the frequencies below 900 Hz is 3.10 x 1.2= 3.72 seconds.
Another one?
your X-over is set at about 900Hz
your Mid RT lives on 4.0 seconds
your Low RT is set to x0.6
means that the verb decay for frequencies above 900Hz is 4.0 seconds while the decay time for the frequencies below 900 Hz is 4.0 x 0.6= 2.4 seconds.
Simple... and all typed and well explained in the manual.
Why Lexicon did that choice?
The concept is to help simulating real spaces made of different materials which can affect reverb/sound absorption. A marble tile reflects mid/high frequencies faster and longer than a wood surface. Many other factors come into the equation, like shape of the environment, size and what not... but to simplify things that's how Lexicon handled the complex reverb phenomenon.

Now, depending on how you set that multiplier (Low RT) and Size, you can end up with a reverb that may have a very long low end reverb decay and a shorter decay for the top end. Since digital reverb is made of tons of delays and allpass filters recirculating audio (feedback!) you may have issues with too much low freq. content at long decays. That's exactly what you did find out... RUMBLE building up!!!
What you need is a X-over and LowRT parameters control to fine tune your verb, according to what kind of material you are feeding to the verb network.

This is the perfect example of *not messing with a good thing unless you make the right choice"... and Digi"tech" messed up.
You need control = you need knobs OR, better, a display (with lesser knobs as you can navigate parameters).
By blocking, hiding, wrongly scaling those parameters because of a limited UI (low cost production = illusion of a Lexicon reverb in a cheap pedal for the customer) they ended up with a screwed Lexicon "based" reverb.

Refined power requires logic refined control! This ain't dumbass stone age technology. Give the user a deserved UI/control, price the product accordingly, market it explaining the user he will need those parameters to create the most beautiful VARIETY of spaces in the Lexicon tradition rather than going for the current subculture of "two knobs do it all".
Make beauty!



Quote:
Originally Posted by deondamage View Post
A while back I bought the Digitech Polara Pedal which has some Lexicon Reverbs on it. I got it mostly just for live playing with my Synths. However I couldn`t resist using it for the production of a tune, just to see what it`s capable of doing. It`s also a good way to find all the flaws, first one being that it was not possible to get a 100% wet signal. That`s obviously a big deal for a number of reasons. Another problem was the low end rumble it created with some signals. So I was forced to filter that out leaving some sounds a bit thin sounding. However I managed to produce a decent sounding tune. If you know what you`re doing, you can get away with using a good reverb pedal in your productions, but personally, I would not do it again. Too many limitations and too little control. It`s never going to sound as good as my other Lexicon racks.
Old 6 days ago
  #340
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by loaf View Post
The thing I always find is when I want some reverb, the plugins don't sound like reverb, but the hardware does sound like reverb
I fully share your perception.
Real time reverb and effects from a dedicated box is much more lively, interacts with what you feed to it and how you play. Spaces have a better 3D spatial imaging and breath in a living way.
Plugs tend to freeze all of that, like a veil put on top of the audio content... not much interacting with it. The space clues are poorer and generally not as nice.
You can get more variety of spaces with hardware... it feels more responsive and has some beautiful quirky shaded zones where you can find out unexpected beauty.

Here's reverb made on the PCM80, using the CHORUS algorithm.
Yep... it does NOT use any reverb algorithm, just the 6 delay lines. The quirks in this algorithms allow for some beautiful hidden features. I tried that on their plugs... no way. No go.
This also has psycho-acoustic surround panning, if you wear headphones you'll notice it better:
Old 6 days ago
  #341
Gear Addict
absolutely - whenever you send to a plugin you're forever trying to get the level right, putting stereo imaging on with the reverb plugin, eq etc - I think because it's just not reverb - as opposed to sending to even a cheap lexicon on large hall or something - there it is, reverb
Old 6 days ago
  #342
Lives for gear
 
DirkB's Avatar
 

I stopped using my outboard reverbs and rely fully on plugins now.

I tried to match my favourite outboard selections and was pretty surprised to hear how close I could get to these with plugins.

Next step now is to have the faders at my console at unity and basicallt use the console as a summing mixer with eq.

Regards,
Dirk
Old 5 days ago
  #343
Lives for gear
 

Quote:
Originally Posted by deedeeyeah View Post
nothing against the creative mis/use of pedals: it's just that the less experienced user might imitate bad practice, damage his gear and then start complaining/yelling at the manufacturers/posting unjustified accusations... - use pads/resistors to bring down the line level signals for your stomp boxes!
Which is exactly why both Lexicon and Eventide decided to implement Limiting, Light Compression slops and Companding after the Eventide & Lexicon Digital Delay series from the 910 Harmonizer in Eventide - and - the PCM 41 DDL in Lexicon! Exactly why most recording engineers ask people to take off their Reverb and Delay! Unless it’s a very much “Part of the Sound Distortion to TRI chorus to insert numerous pedals” Studios generally keep very expensive Reverb and Delay Effect Processors. True bad practice in theory destroys Audio Equipment not everything is meant to run at 3 megaohms when the standard is +4dBu. Internet myths are in and of themselves healthy enough to combat. That’s pretty much what is going on here! Reasonable argument in someone not really understanding the explanation “Why” when no matter how it’s explained “Creative Differences” are cited.
Old 5 days ago
  #344
Lives for gear
 

Quote:
Originally Posted by DomiBabi View Post
I think you may be intelligent, and agree with the basic engineering knowledge you are sharing. I also think this type of knowledge is great for those that may not understand yet the differences between the technically right and wrong ways of connecting gear.

That said, you are being a bit dogmatic about the reality of creating and making music.

Yes, there is good reasoning and science behind your advice. Yes, yes, yes... you are right about that.

Where you are flat out wrong is this:

You don’t need optimum gain staging or racks full of high end gear to make great music. There is NO wrong way to do that. Creativity and knowing when to bend or break the rules is part of artistry and mastery.

Yes, it is important to know basics, and better to stick to the rules in the beginning... but by your knowledge, no one would ever over-drive an 1073 or engage all buttons in on an 1176. No one would use pedals when mixing vocals (as one of the world’s top engineers at S%%%%^ sound has done with old Mutec phasers).

You can make great records with anything and anything can sound good with the right person using it. I use the eventide with its limited headroom as a line level insert all the time, right next to our rack units. I’m just careful and I’m having fun and who cares how I do it if it still sounds great?

Don’t be so rigid, man.
You can insert what you like though it’s most likely going to be line level single ended unbalanced TS to TS to TRS! You made your point, rather pointlessly if I’m being honest!
Old 5 days ago
  #345
Lives for gear
 

Quote:
Originally Posted by italo de angelis View Post
I wasn't so impressed with that plugin, but I didn't have a 480 in my hands to do actual comparisons between them.
I had a pre_release version of the plugin and had some work talk with the programmer back then.
All the times I have worked with a 480 or all the memories I have and recordings... well, they sound better than what the plug sounded to me.
Especially those older units... it's not just a matter of algorithm recreation accuracy; there's so much in the actual electronics that algorithms and a computer don't replicate at all.
Random Hall has been re_created (and modded) in the Lexicon PCM92/96 hardware and the current Lexicon plugins. It sounds different from the original one on the Lex300, then ported to the 480... very different. I actually like the PCM91 version better than the latest one. It's closer to the Lex300 original, much closer.
I totally agree and concur 100% it’s the only instance 300 Algorithms have been ported over and by Lexicon Engineers (to the M91 & M480L classic Cart) completely. Yes I can hear The PCM 91 excites a touch more easily then again it doesn’t have the same design structure Hardware wise! Actually a very good example of 3 different Lexicon Hardware units that all have 90%-95% of the same processing in mathematical structure:

The 300M/L 20 bit
The 480L (Transformers exist) 18 bit
The PCM 90/91 bit 20 bit
(Dismissing the 300 Algorithms in the Lexicon LD series) which again sounds very close.)

All Hardware Units that Lexicon Algorithm appeared in all Algorithms that Lexicon Algorithm designers as mathematicians were coding into software and Hardware, yet again though this time into 3 different Hardware units with different capabilities! Possibly a lesson showing AD-DA limitations of the PCM91, it’s Z80, Lexichip 2, and PCM 54HP Convertor show near little of any appreciable difference in sound. Ergo it has to be the surrounding Hardware (Limitations or ability thereof) which creates the sound the mathematics simply is meaningless minus the accompanying Hardware.
Old 5 days ago
  #346
Lives for gear
 
Kronos147's Avatar
In regards to using the H9 in a balanced +4 line level environment. Using balanced 1/4 TRS cables, it seemed to work fine along the H3000, Lexicon 200, and Lexicon MPX500 I had at the time.

FWIW, I did a reverb comparison. Nothing matched the Lexicon 200, and the H9 (again, reverb) was just lacking character, depth, and richness. Maybe it was the gain staging Italo suggests, however, I watched levels, and I felt just as unimpressed when it was on my pedalboard (almost all effects).

In the end, I felt the same lack luster opinion of the MPX500 reverb that I used to really like. In other words, our tastes changes. At least mine does.

I have 4 stereo (or 8 mono) sends on my console. I have the H3000 and a PCM90 normaled to the first two stereo sends. Send "C", when panned left goes to a PCM70, panned right to the PCM60. Send "D" goes to a pair of DeltaLab ADM1024 delays (with external transformer step up and step down to line level).

I went through a lot of soul searching and listening to settle on my units; H3000, PCM90, PCM70, PCM60, and DeltaLab ADM1024. They all bring something unique to the table.

The only thing I feel I am missing is a TC2290 and a PCM80. I would love to hear the Eventide SP2016. I have not heard the Bricasti or the high end TC Electronics.

I listed heard a lot of Roland and Yamaha along my journey. They never moved me like the Lexicon, but everyone has their own opinion.

Italo's samples and patches for the units I have are some of the best in his collection, IMO, and someday I have to buy his catalogs. Especially for my PCM70.
Old 5 days ago
  #347
Lives for gear
 

Quote:
Originally Posted by juiseman View Post
So basically; if I setup my plugin reverb bus with a channel strip plugin/ then compressor before my reverb plugin...that will get me 90%-95% of the sound
of a classic hardware unit?
Yeah.....?
Old 5 days ago
  #348
Lives for gear
Quote:
Originally Posted by robert82 View Post
I appreciate that you said ' . . . but let's wait for someone more expert'. However, I hope you see how your bias precedes that: "I'm quite sure the real hardware doesn't sound so generic . . . " This is what I find annoying about these discussions, that "Of course the hardware sounds better", simply because it resides in a rack unit and not as a plugin on a computer.

I could go all PC and say that hardware users discriminate against plugins.
Aren't you being equally bias? You admittedly have not tried the hardware version of a the 480L. As much as you hate to hear it said, until you do, your own ears will never know the difference.

I have the Relab LX480 and absolutely love it. I also have the Lexicon PCM Native plugin. absolutely love it. But... I also have a Lexicon PCM 90/91 hardware unit. It's hard to describe, but it adds "something" that the plugins don't have. Dimension, depth, stereo spread, warmth? Not sure what to call it but it's there. I don't thinks its fair that you accuse people of "not trying hard enough" to get the plugins to sound as good. People do try hard. Plus, based on the advertisements, should a person have to try hard at all?

If you feel that plugins are better, then so be it, but don't knock people who don't. Personally I feel that there is room for both. Having been in studio's with echo chambers (capitol records), EMT 140 plate, and a Lexicon 480L, my ears tell me that plugins aren't there yet. There are things that PC's and related algorithms are missing. On the other hand, I like the relatively low cost and convenience of plugins. If I could afford the hardware units mentioned or studio time at Capitol, that would be my preference.
Old 5 days ago
  #349
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by TheLastByte View Post
Yeah.....?
Old 5 days ago
  #350
Gear Maniac
 

Italo, thanks for pretty good explanation, again!
I’m very happy with your MPX1 patches, using them all the time

Question for you - did you try Seven Heaven? It’s pretty close to Bricasti and it’s not an “ algo” technology.
Old 5 days ago
  #351
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by temnov View Post
Italo, thanks for pretty good explanation, again!
I’m very happy with your MPX1 patches, using them all the time

Question for you - did you try Seven Heaven? It’s pretty close to Bricasti and it’s not an “ algo” technology.

Thank you, man.
I'm glad you are enjoying the sounds!
No I haven't tried that plug BUT reading thru documentation... "sampled IRs"... not sure that really has any appeal to me. I love elegant algorithmic thinking, not so much "freezing" their outcome and make something else with it.
Thanks for pointing that out.



P.S.
I see... it's convolution! What else. Bricasti couldn't give out their algorithms for that kind of money. Makes sense now.
Not my thing.
Old 5 days ago
  #352
Gear Maniac
 

Well, thing with Seven Heaven Pro is they use Fusion IR tech which allows them to use literally hundred of separate IRs in one patch and thus recreate Bricasti's modulation close enough.

I was comparing it to my M7 and would say it's pretty close. I don't think there is any other IR reverb that sounds so smooth, my personal opinion, of course
Old 5 days ago
  #353
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by temnov View Post
Well, thing with Seven Heaven Pro is they use Fusion IR tech which allows them to use literally hundred of separate IRs in one patch and thus recreate Bricasti's modulation close enough.

I was comparing it to my M7 and would say it's pretty close. I don't think there is any other IR reverb that sounds so smooth, my personal opinion, of course
I'm sure you hear closeness to the original.
But my experience with convolution is that when you start tweaking things and trying to process different sources thru it... you find out THE difference.
The concept is simple... the original and a representation of it... which is the best?
Old 5 days ago
  #354
Gear Maniac
 

Quote:
Originally Posted by italo de angelis View Post
I'm sure you hear closeness to the original.
But my experience with convolution is that when you start tweaking things and trying to process different sources thru it... you find out THE difference.
The concept is simple... the original and a representation of it... which is the best?
So far for me personally the original was always better! However we're talking about people be able to afford something that is very close to original.

For example I have like 10 hardware reverbs but I don't have an original 300 or 480L and I want them. First, there is now way I could afford it right now and 2) it's almost impossible to find it.
Old 5 days ago
  #355
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by temnov View Post
So far for me personally the original was always better! However we're talking about people be able to afford something that is very close to original.

For example I have like 10 hardware reverbs but I don't have an original 300 or 480L and I want them. First, there is now way I could afford it right now and 2) it's almost impossible to find it.
I hear you!
300s are still relatively easy to find (V3.50 is the one to get).
480s... I see them floating but you gotta be really/really sure about their condition as it's a delicate machine. 300 is much sturdier.
Old 5 days ago
  #356
Gear Head
 

The PCM chorus as reverb was really cool. Now my MPX-1 cannot do that.

You say you got MPX-1 patches? You have a chorus as reverb like that?

The PCM had great detuning that I never found in the MPX.
Old 5 days ago
  #357
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by mark1971 View Post
The PCM chorus as reverb was really cool. Now my MPX-1 cannot do that.

You say you got MPX-1 patches? You have a chorus as reverb like that?

The PCM had great detuning that I never found in the MPX.
MPX can't do that as it has different structures and only 2 delay lines.
PCM detuning is good... MPX isn't bad though.

Here's my MPX work:
Italo de Angelis


... and some videoclips...



Old 5 days ago
  #358
Quote:
Originally Posted by TheLastByte View Post
You can insert what you like though it’s most likely going to be line level single ended unbalanced TS to TS to TRS! You made your point, rather pointlessly if I’m being honest!
Ah, Grandstanding! Ok, I’ll bite.

I’ll agree; the argument was pointless. One one hand, you have a guy with a passion for verbs and technical knowledge sharing what he knows. This is always cool.

Except... you have this other bozo (me) who sensed an underlying tone in the conversation that might be harmful to a kid who now thinks he can’t use what he has, or needs very expensive gear to make great sounding music.

So, true... my attempt at playing Devil’s advocate might not have come off well. I’m no dummy; I know how much better the high end stuff can sound (I own a bunch of it... guilty as charged). I also know I was that kid at 16 plugging all the pedals I bought used into drum machines and synths and had some of the best times of my life doing it. I never broke anything doing it BTW, and it didn’t sound terrible as others would have you believe.

I GUESS I was just trying to say “anything can work in moderation.” Is the other guy 100% about the technically correct and safe way? Yes.

Have numerous hit records been made by ignoring that great advice? Hell yeah.

There’s also an improper way to use a record. It’s called turntablism, and it’s kind of cool too.
Old 5 days ago
  #359
Quote:
Originally Posted by italo de angelis View Post
You found out a big truth (and fail) at your expenses, unfortunately!

So, Digi"tech" came up with this "we put Lexicon reverbs" in our pedal marketing thing... amazing!
What they did?
-first they cannibalized from the Lexicon MPX-1 reverbs, which came off the PCM80/90 series. On both Lexicon series they run on a dedicated Lexichip II processor, custom made for Lexicon... not the usual peanuts most other companies have been using.
Now you have to know that the MPX-1 reverbs, no matter their names... Hall, Chamber, Plate, Gate, ... they all ARE based on the PCM Chamber algorithm; so there is no real Hall and, worst... no Plate. These types of reverbs require a dedicated algorithm as the envelope of the reverb and its tonal response is very different from a Chamber. Lexicon *halls* in history are two, Concert Hall and Random Hall. That's what you want to look for in a Lexi box... and own.
-so Digi"tech" takes these Chamber in disguise algorithms and does who knows what to them... then puts them in a pedal format, whose UI sucks by nature.
Unless you build a pedal with a real display to show plenty of parameters (which is an expensive choice for a company AND for the end user), they go for the typical pedal cheap interface... a bunch of knobs. Bad choice.
That "thinking" forced them to block hidden parameters to a pre_set value or link them to others via control tables so that when you cange something on a knob other parameters you don't see are changing too.

You have Lexicon racks so I assume you are very familiar with their classic milestone paradigm in reverb design... you have a Mid RT parameters, a Low RT, and X-over. Add to that Size.
How these things work?
Size mimics the space volume (cubic meters), actually scaling the reverb internal delays and also controls the Mid RT decay time, logically, if you keep them linked (you can unlink them if you like). Mid RT sets the reverb decay time for the Mid (and high frequencies) while Low RT is a multiplier which scales the low freq. reverb decay time value in relation to the Mid RT decay time value; X-over splits the 2 freq. bands.
Example:
your X-over is set at about 900Hz
your Mid RT lives on 3.10 seconds
your Low RT is set to x1.2
means that the verb decay for frequencies above 900Hz is 3.10 seconds while the decay time for the frequencies below 900 Hz is 3.10 x 1.2= 3.72 seconds.
Another one?
your X-over is set at about 900Hz
your Mid RT lives on 4.0 seconds
your Low RT is set to x0.6
means that the verb decay for frequencies above 900Hz is 4.0 seconds while the decay time for the frequencies below 900 Hz is 4.0 x 0.6= 2.4 seconds.
Simple... and all typed and well explained in the manual.
Why Lexicon did that choice?
The concept is to help simulating real spaces made of different materials which can affect reverb/sound absorption. A marble tile reflects mid/high frequencies faster and longer than a wood surface. Many other factors come into the equation, like shape of the environment, size and what not... but to simplify things that's how Lexicon handled the complex reverb phenomenon.

Now, depending on how you set that multiplier (Low RT) and Size, you can end up with a reverb that may have a very long low end reverb decay and a shorter decay for the top end. Since digital reverb is made of tons of delays and allpass filters recirculating audio (feedback!) you may have issues with too much low freq. content at long decays. That's exactly what you did find out... RUMBLE building up!!!
What you need is a X-over and LowRT parameters control to fine tune your verb, according to what kind of material you are feeding to the verb network.

This is the perfect example of *not messing with a good thing unless you make the right choice"... and Digi"tech" messed up.
You need control = you need knobs OR, better, a display (with lesser knobs as you can navigate parameters).
By blocking, hiding, wrongly scaling those parameters because of a limited UI (low cost production = illusion of a Lexicon reverb in a cheap pedal for the customer) they ended up with a screwed Lexicon "based" reverb.

Refined power requires logic refined control! This ain't dumbass stone age technology. Give the user a deserved UI/control, price the product accordingly, market it explaining the user he will need those parameters to create the most beautiful VARIETY of spaces in the Lexicon tradition rather than going for the current subculture of "two knobs do it all".
Make beauty!
Great post Italo. Thank you. Enjoyed reading about the way Digitech designed the Polara. I don`t regret buying it though. I`m not going to take my expensive racks on tour, experiencing some drunken DJ spill his beer all over it.
Might end up in jail for homicide.
Old 5 days ago
  #360
Lives for gear
 
italo de angelis's Avatar
 

Quote:
Originally Posted by deondamage View Post
Great post Italo. Thank you. Enjoyed reading about the way Digitech designed the Polara. I don`t regret buying it though. I`m not going to take my expensive racks on tour, experiencing some drunken DJ spill his beer all over it.
Might end up in jail for homicide.
Drunken DJ! The new pest?

I hear you!
Well...
in the far past I had a very small rack with a mixer, a couple of Lexicon LXP-1s and an LXP-5... and an MRC. Boy, the fun I had with that! So much tone and possibilities, from a single remote controller (the MRC was poor man LARC, actually a LOT more powerful than the big guy). Great crunchy verbs in the true Lex tradition. They go for peanuts today and are very reliable.
cheers!

Last edited by italo de angelis; 5 days ago at 06:23 AM..
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