#Lexicon 480L Reverb Plus It Was

Just like analog EQs and compressors, some engineers still swear by what these hardware units provide, which is why all the following reverb and delay units have plugin emulations. Putnam went on to install reverb chambers in studios all across the country вЂ” until outboard reverb and delay units became increasingly available in the late 50s.Many of these effects units produced have been used on countless hit records over the years. Was the first engineer to use вЂњartificial reverbвЂќ on a track (вЂњ Peg oвЂ™ My HeartвЂќ byВ The Harmonicats, which was a huge hit).

The massive size of the EMT 140 was a common complaint from engineers, so EMT designed the EMT 250 as a floor standing unit with large level and push-button controls.The EMT 250 included a much more robust feature set than itвЂ™s predecessor,В with pre-delay controls and separate high and low-frequency decay times. EMT 250/251Nearly two decades after the release of the EMT 140, EMT teamed up withВ Dynatron to create the EMT 250 Electronic Reverberator Unit in 1976. Although they tend to have a rather metallic sound, the EMT 140 is revered as one of the best sounding plate reverbs of all time, and was used on many major records made in the late 50s and early 60s.Popular emulations of the EMT 140 are available from PSPaudioware,В Audio Ease, Slate Digital, Soundtoys, Universal Audio, and Waves. But up until around the 40s, the only way to apply reverb to a recording was to move the mic further away from the sound source вЂ” and the only way to apply delay wa Play VideoThe whole package weighed about 600 pounds, but it was cheaper than building a dedicated reverb chamber. The mic signal was then sent to a transducer attached to the frame, causing it to vibrate, and a small dampening plate controlled by a motor was used to dial in the length of the reverb.Reverb and delay plugins are common tools for every modern mixing engineer вЂ” most DAWs even include their own effects plugins for free. It was created by suspending a 6 x 10вЂ™ sheet of metal inside a giant steel casing.

Lexicon 480L Reverb Plus It Was

The AKG BX20 was built in a large wooden case and included two sets of spring units suspended in reverb вЂњtanksвЂќ.The AKG BX20 utilized clever design techniques and hand-selected springs to minimize the twang commonly associated with spring reverbs, which provided rich, deep, organic reverb tone, unlike the metallic-sounding plate reverbs available at the time.Popular emulations of the AKG BX20 are available from Audio Ease, Universal Audio, andВ VNXT. AKG BX20Although AKG is largely thought of as a microphone and headphone manufacturer today, in the late 60s they were responsible for producing one of the most popular spring reverbs of all time. Although it originally cost more than some cars, the 480L was packed with effects, including digital compression, stereo widening, 40 voice effects, a built-in sampler, doppler and pitch effects, not to mention a variety of realistic sounding reverb algorithms.The Lexicon 480L solidfied LexiconВ as вЂњthe godfather of digital reverbвЂќ and would go on to be used on a vast amount of gold and platinum recordings.Popular emulations of the Lexicon 224 are available fromВ AudioВ Ease,В Lexicon,В Native Instruments,В Nomad Factory,В PSPaudioware,В Slate Digital,В Soundtoys, andВ Universal Audio. Lexicon 480LIn 1986, Lexicon released the successor to their wildly popular 224XL model В the 480L. It also included the iconic LARC (Lexicon Alphanumeric Remote Control) for desktop control.Eventually, new features were added as the unit evolved to the 224X and 224XL models, including improved converters, expanded presets and an updated controller.Popular emulations of the Lexicon 224 are available fromВ AudioВ Ease,В Lexicon,В Native Instruments,В Nomad Factory,В PSPaudioware,В Slate Digital,В Soundtoys, andВ Universal Audio. Lexicon 224Although itвЂ™s not the first digital reverb, the Lexicon 224 is often considered вЂњthe most ubiquitous and popular high-end studio reverb in history.вЂќ It included many of the same features as itвЂ™s competitors вЂ” plus it was rack mountable, and less than half the cost (although it was still ~$7,500).The Lexicon 224 featured interchangeable programs to simulate different reverb types such as chambers, plates, and rooms, and is commonly revered for itвЂ™s rich, lush, natural tone.

This is what gave the Space Echo its unique and unpredictable charm.In addition to analog tape delay, the Space Echo included a built-in spring reverb with 12 different operating modes. It usedВ standard 1/4вЂќ tape to loop incoming signals, which was loosely jumbled together in the tape tank. Roland RE-201 Space EchoAlthough engineers had been creating their own analog delays for years using tape machines, the need for a portable, dedicated analog tape delay became more apparent as outboard signal processing was popularized.In 1974, Roland released the RE-201, better known as the Space Echo. It also included a remote control, similar to the Lexicon 224.AMS developed 9 separate reverberation algorithms, including rooms, halls, plates, ambiance, and the famous reverse and non-linear reverbВ used on Phil CollinsвЂ™ вЂњIn the Air TonightвЂќ.Popular emulations of the AMS RMX16 are available fromВ Audio Ease,В Nomad Factory,В Slate Digital,В Soundtoys, andВ Universal Audio. Although thatвЂ™s a pretty common practice today, it was mind-blowing in 1981. It became an instant classic and was used on records by U2,В Peter Gabriel, and Radiohead for its lush tones and innovative controls.The AMS RMX16 was also one of the first effects units to include microprocessing, which essentially meant the unit was controlled by tiny computers.