Eventide H3000 D/SE

The Eventide H3000 Ultra-Harmonizer is a family of products based around a multi-purpose programmable, digital audio signal processor. We call them Ultra because they do more than our earlier models. To begin with. they have full stereo pitch change. They also are digital reverbs. And they’re a lot more. The Eventide H3000 is capable of creating effects you've never heard before. The products that make up the H3000 family are:The Eventide H3000-S (Studio), the Eventide H3000-SE (Special Edition). The Eventide H3000-B (Bmadcut), the Eventide H3000-3+. the Eventide H3000-B/LT, the Eventide H3000-D/SX, the Eventide H3000-D/SE, the Eventide H3500-db: and the Eventide H3500-dfic/e.

Eventide DSP 4000

The Eventide series Ultra-Harmonizers are multipurpose programmable digital audio signal processors with pitch change capability. The 4000s are capable of creating effects you've never heard of before. It has a built in patch editor to let you create your own effect algorithms. Each harmonizer come equipped with hundreds of factory presets.The 4000s are fully MIDI addressable, with clickless, real-time MIDI control. A thorough understanding of the 4000's controls and connection will make ownership of the unit more fulfilling.

Cooper Time Cube

The original Cooper Time Cube was a UREI-branded, Bill Putman/Duane H. Cooper collaborative design that brought a garden-hose-based mechanical delay to the world in 1971. The limited feature set of 14ms, 16ms or a combined 30ms delay meant it was less flexible (and popular) than tape-based delays such as the Echoplex or later electronic units, and only 1,000 were ever made. However, the CTC was noted for its uncanny ability to always sit perfectly in the mix and was used on many hit records, such as “Tell Me Something Good” by Rufus and “Low Rider” by War.The Cooper Time Cube sends live audio through long pieces of tubing, not unlike a garden hose, to create a time delay. The 2' x 2' plywood housing is filled with coiled tubing, Shure mic capsules (of the SM57 variety) at both ends of each line used as speakers and pickups, and a series of tooled aluminum blocks with "tuning screws" at various places to tune the delay to a relatively flat response. The whole delay mechanism is suspended on springs within the housing to maintain "acoustical isolation," and is then filled with packing peanuts, which stay in the housing.

Valley People Dyna-mite

The Valley people Dyna-Mite is a self contained and self powered multi-purpose processing device. In all it is capable of operating in 18 specific modes, including the basic modes of limiting, Expansion, De-essing, Noise Gating, Ducking, Keying, etc. In each operating mode, full parametric control is afforded by four continuously variable controls. Thus, while being easy to operate it is capable of performing the most critical demands. Balanced input circuitry capable of +24dBv is employed to assure compatibility with professional equipment, while the circuitry is structured to interface correctly to low level/high impedance semi-pro components. The output circuit can deliver a full +21dBm into 600 ohm loads or transformers, yet can feed a -10dBv lines with excellent noise levels and compatibility. Although it can be used as a traditional limiter or expander, the Dyna-mite’s legend is that of a creative tool capable of extreme, yet musical effects on a variety of sound sources.

SPL Vitalizer MK2-T

The SPL Vitalizer MK2-T is a popular revision which utilizes two 12 AX 7 LPS-double triode tubes. One of them is used within the Mid-Hi Tune filter to give the mid frequencies greater transparency with a soft, unobtrusive sound. The second tube is used within the Stereo Expander, where the stereo image not only gains more width, but also more depth and richness, thanks to pleasant tube harmonics. The SPL Vitalizer MK2-T has very straightforward controls for Drive, independent Equalization (Bass and Mid-Hi), Processing level, Low Cut filter with Intensity, Stereo Expansion, and Output allow set up in seconds. The Bass control lets you choose between dry, percussive bass sound or a punchy, deeper sound. Importantly, bass is accentuated without unnaturally emphasizing low-mid frequencies, and an easy-to-use compressor complements the Bass section. 

Eventide SP 2016

The SP2016 is a 3U rackmount box with vertical faders to adjust the parameters, chunky '80s buttons, and a small LED alphanumeric display — was fairly crude by modern standards, but three of its algorithms have stood the test of time: Stereo Room (with source-related stereo early reflections), Room Reverb (with a mono input) and High Density Plate. These reverb programs all sounded far more natural than any other reverb technology could manage at the time (plates, springs, tape echoes, and tiled rooms) and they always seemed to sit well in mixes. All their parameters were instantly adjustable, which was revolutionary. The SP2016 reverb sounded quite distinctive, but they were also very believable thanks to the way the unit generated a surprisingly complex early-reflection pattern, complete with a realistic build up of reverb density over time, combined with a smooth and natural decay tail.

Roland Dimension D

                     
The Roland Dimension D has one function: The best sounding stereo chorus ever made. 
However, the Dimension D is more than a chorus; it is really a unique sound enhancer for adding spatial and stereo widening effects. This classic bucket brigade chorus 1979 Roland device has been heard on countless records, including luminaries such as Peter Gabriel, Talking Heads and INXS.

DBX 902

The dbx model 902 De-Esser is designed for use in the F900A mainframe or the FS900 miniframe. The 902’s unique features make it possible to achieve the exact amount of de-essing desired regardless of variations in signal levels.

Log-Domain Processing: The 902 examines the differences in dB between the high frequency and full-bandwidth portions of the signal, allowing de-essing of signals which change in level by as much as 60 dB. Conventional de-essers require readjustment of their threshold control when a vocalist drops from singing voice to a whispering voice. By contrast, the 902 does not even have a threshold control to require adjustment.

User-Defined Crossover Frequency/HF Only or Broadband Operation: The two-pole, maximally flat filter design used by the 902 in separating high frequencies from low frequencies can be user adjusted over a range of 800 Hz to 8 kHz. This, in conjunction with the HF only mode, enables the 902 to be used for special, non-vocal applications such as removing “clicks” from a close-mic’d guitar.

RMS Level Detection: dbx patented RMS level detectors enable the 902 to sense level on the same basis as the human ear -- providing a natural and accurate response to audio waveforms.

Yamaha Rev5

The Yamaha Rev5 is a highly sophisticated digital reverberation and effects system which offers warm, accurate simulations of natural and plate reverberation, extensive control, and basically superior sound quality. A total of 30 preset effect programs are provided that can be edited, re-titled, and stored in any of 60 RAM user memory locations. Programs 1 through 30 cover a range of reverb, early reflection, delay, modulation, gated reverb and pitch change effects, while programs .91 through .99 provide a unique set of “combination” programs which effectively function as several Yamaha Rev5 units in one.Individual three-band parametric EQ parameters are provided for each effect program for precise tonal tailoring. In addition to the basic effect and EQ parameters, the Yamaha Rev5 offers a list of “internal parameters” which provide exacting control over the effect sound. The REVERB programs, for example, feature a total of 12 parameters that make it possible to create precisely the required effect.

Line 6 Echo Pro

The new Echo Pro rackmount model offers virtually all the features of the pedal version, but with a better user interface, 99 programs, stereo balanced ins and outs and MIDI, including MIDI control over the unit's loop record/playback functions.To create the Echo Pro, the designers analysed original hardware echo boxes, then attempted to recreate such factors as wow and flutter, distortion and high-end loss to get their models to sound like the real thing, but without the hiss. In addition to the delay programs, there's a loop sampler capable of up to 60 seconds of loop time. Using the front-panel buttons or external MIDI controllers, a loop can be recorded, replayed, overdubbed, doubled or halved in speed, or even played in reverse.The 1U package is mains powered, with the rear-panel stereo ins and outs on both balanced jacks and XLRs, though you can use the unit in mono if you prefer. There's also a jack input for an expression pedal, as well as MIDI In and Out/Thru sockets. 

Yamaha SPX90II

The Yamaha SPX90II is an amalgam of advanced acoustical research and digital technology designed to provide musicians and home recording enthusiasts with a wide range of exciting effects. The Yamaha SPX90II Digital Multi-Effect Processor utilizes highly refined LSI (Large Scale-Integration) technology to create natural reverberation. The SPX90II can create effects for beyond mere reverberation, though that in itself is of a truly superior quality. A variety of echo, delay, and special effects each with comprehensive parameter adjustments can be accessed at the touch of a switch. And as the Yamaha SPX90II is MIDI compatible, it can be programmed to apply separate reverberation effects to a variety of MIDI compatible instruments.

Bricasti M7

A modern high resolution digital design, utilizing a stunning array of DSP processors, provides a platform for the long overdue next step in reverb processing algorithms. A separate fully differential analog section and dedicated transformer based linear power supply provide the finest analog specifications of any product of its kind.

Hardware Design Features

Dual Dedicated Power Supplies
Custom design toroidal transformer linear supply for analog
High performance switching supply for digital
Separate Digital and Analog modules
non corrosive Stainless Steel chassis and top cover
Milled anodized aluminum front panel, knobs and button caps
Positive feel 2 db stepped analog input level control
MIDI I/O