Lexicon PCM-70 Reverb

"He also uses a Lexicon PCM-70 to store the circular delay sounds you hear in songs like "Shine On" and "Time." Because it has a multi-tap function, it can pretty accurately duplicate the kind of echo Dave used to get from his old Binson echo unit. A t.c. electronic 2290 is his primary delay -- it's what he uses for most things." - [Phil Taylor, David Gilmour's guitar tech.](http://www.pink-floyd.org/artint/dagear.htm)

Music Radar interviews Edge's guitar tech Dallas Schoo in [this article](http://www.musicradar.com/us/news/guitars/u2-exclusive-the-edges-stage-setup-revealed-223342), and details his touring rig for 2009's "360° Tour." It lists the PCM-70 among his effects.

Premier Guitar mentions that Eddie had two of these in his live performance setup at Bridgestone Arena in 2012, and one of them served as a backup.

During the 1988 David Lee Roth and 1990 Whitesnake world tours, Vai used a PCM-70 in his offstage effects rack.

In this [archived article](https://web.archive.org/web/20040213203727/http://archive.guitarplayer.com/archive/artists/thecure.shtml) of an interview from the April 2000 issue of *Guitar World*, the PCM-70 is listed among Robert's effects. [*Sound on Sound*](http://www.soundonsound.com/sos/1996_articles/jun96/thecure.html) also writes about The Cure using this effect.

According to this [Guitar Player article](http://www.guitarplayer.com/accessories/1019/five-top-guitarists-with-massive-pedalboards/49110), a Lexicon PCM-70 is used by Andy Summers, on the intro to 'Can't Stand Losing You.'

"Well, the other thing I use is the Lexicon PCM 70 reverb. I like Lexicon because it's a darker sounding reverb. I mean it has a sound, it seems to have a warm sound. I like a warm sound on the bass anyway, especially as far as effects are concerned. The Alembic bass is such a hi-fi sounding bass. It's very pumped up, very high. It's just a very powerful sound, you know, a lot of spikes, peaks on the bass. It's just the way they did the electronics. So coupling that with the nice soft sort of warm reverb really has a nice effect."

9th paragraph and 3rd line this processor is listed as being used.

listed 16th down in recoils equipment list

This can be seen as part of the rack-mountable equipment in the studio in this video.

What is your most used piece of hardware equipment: "Nord Modular G2. Eventide H3000. Lexicon PCM70. Turbo Rat."

"He still tends to treat his sounds heavily after programming: favourite devices for creating movement are his Roland SBF325 stereo flanger and Roland SDE3000 digital delay. Other effects come courtesy of Lexicon PCM70, Yamaha SPX90II, and Korg SRV reverbs, Sound City distortion pedals, and a stereo ring modulator which he had custom built. Again, like Sylvian, and still harking back to Tin Drum times, Barbieri prefers the sound of keyboards recorded to tape (the Fostex E16), and so, oddly for a modern keyboard player, doesn't own any sequencer or computer."

In his [Studio Tour Feature for FACT Magazine](https://www.youtube.com/watch?v=y8s_xtDv4D0), Mathew Jonson's PCM-70 can be seen at [at 2:48](https://www.youtube.com/watch?feature=player_detailpage&v=y8s_xtDv4D0#t=168).

According to the items he sold at auction, this processor was one of those things. It was another piece of gear he used.

In [this article](http://patricksisson.com/gang-signs-post-punk-legends-gang-of-four-revisit-old-principles-and-crank-up-the-transistor-amps-on-content/), Andy's approach to recording vocals is explained. "The album was rounded out with King’s vocals, captured on a Shure 57 or Neumann 67 and given a touch of delay and reverb with the PCM 70 or 80 and Logic reverb, 'to help the vocals sit in the track.'"

The rack setup used during the later Blue Murder days included a Mesa Boogie Dual Recto head, a Mesa Boogie Tri-Axis Preamp, a Mesa Boogie IIC+ head, a Mesa Boogie Strategy 500 Power Amp, a rackmounted Dunlop Crybaby, a Lexicon PCM 41, a Lexicon PCM 70, and an H&H V800 Power Amp.

"My main reverb is a Lexicon PCM70, and my main delay is a TC Electronic TC 2290. Sure, they're both incredible-sounding machines"

In this video with Alan Braxe, you can see a PCM 70 being used at 5:50.

"The PCM70 is also a favourite toy; it has so many lovely things to it. Its Rich Chamber setting is a real warm, beautiful sound. So I was able to do the whole movie score with just that setup and I was very happy with it." Another smile, another cigarette, another subject. Art. To call Laurie Anderson a musician is to do her an injustice. Her work to date has involved songwriting, choreography, film-making and performing, so "artist" is a more accurate term. And strangely, it's from interviewing those sculptors that this artist has drawn many of her ideas."

Included in gear list

"My favorite digital reverb. I had a bunch of custom presets I made that I used all the time. 'Pelvisman' (named after a song by Knerble Knerble) was a huge, bright hall sound with a lot of pre delay, and 'Anti-Pelvis' was a super fast gated snare sound, used on a ton of sessions."

The article states he used a Lexicon PCM-70 Effects Processor. This is from 1988 - when Rack Rigs were still a big deal on the worldwide pro status level.

A pair of Lexicon PCM 70s can be seen in Karl's studio (sixth photo, right side of rack, third and fourth from bottom).

According to the "equipment list" found on Church Studios, owned by Epworth, one of the things listed is Lexicom PCM70.

Jonathan Wilson talks through the racks in his studio

in future music magazine (issue no 236, february 2011) fm take an interview with photek about his classic album modus operandi (page no. 16-19). on the. photo in source- screenshots from there (with reference to photek a gear)

According to Dave Amato, he uses a Lexicon PCM-70 Reverb "that I just love," (15:05).

"I started with the first PCM70. I bring my own reverb with me, but there are certain rooms that enhance every sound."

According to a list of equipment which is used in his studio, Crowdspacer, Joakim is also a user of Lexicon PCM-70 reverb.

Spectrasonics Studio List The equipment list for the Spectrasonics studio reads like a gear-head's dream. Favourites amongst Eric's sizeable synthesizer collection include the Access Virus, the Prophet VS, his collection of Waldorf synthesizers, and a 1976 Yamaha CS80. "It's my favourite axe to play, because of the awesome polyphonic aftertouch and that sensuous ribbon," explains Eric. For effects processing Eric is a fan of the Roland SRV330 reverb, an item that "gets missed by most people, mainly because it doesn't say Lexicon on the front panel." For distortion tricks Eric often uses a rare Boss GL100 guitar preamp: "It's basically the history of Boss pedals in one rack space." Mixing, until recently, was done on some "very odd, custom-made analogue mixers made by a guy named Mo West," reveals Eric. He recently purchased a Roland VM 7000-series mixer, however, taking him one step closer to an all-digital setup. SAMPLERS • Roland S760 and S770 • Kurzweill K2000 • Bitheadz Unity DS1 (running on an Apple Macintosh G4) SYNTHESIZERS/DRUM BOXES • Access Virus • Clavia Nord Lead • Doepfer modular synth • Emu modular synth • Moog Minimoog (modified by Studio Electronics) • Oberheim SEMs • Polyfusion modular synth • Roland JP8000 prototypes & production units • Roland JP8080 • Roland JD800/990 • Roland Jupiter 8 • Roland JV1080 and 2080 • Roland MKS50 Alpha Juno • Roland MKS80 Super Jupiter • Roland System 700 and 100m modular synths • Roland MC303 • Roland MC505 • Roland TB303 • Roland TR808 • Roland TR909 • Korg EX8000 • Korg M1R • Korg Mono/Poly • Sequential Circuits Prophet VS • Waldorf Wave, Microwave, Microwave XT • Yamaha CS80 SOFTWARE • Alchemy • Arboretum HyperEngine • Arboretum Hyperprism plug-in pack • Arboretum Ionizer • Arboretum Raygun noise-reduction plug-in • Antares Infinity • BIAS Peak audio editor • BIAS SFX machine effects • Emagic Logic Audio Platinum • Emagic Sound Diver synth editor/librarian • Fireball • GRM Tools plug-in pack • Metasynth • Opcode Vinyl, Vocode & Filter plug-ins • Propellerheadz Rebirth soft synth • Prosoniq SonicWorx Artist effects • Steinberg Magneto tape-saturation emulator • Steinberg ReCycle sample editor • Thonk soft synth • RAIFF • Region Munger • Transfer Station • Samplifier sample transfer software • Saturator • Sound Morph • Sound Hack audio editor • Unisyn synth editor • Waveboy Voder SIGNAL PROCESSORS • AMS RMX reverb • API 5502 equaliser • Boss GL100 guitar driver • Boss SE70 multi-effects • Dimension beam controller • Euphonics mixing console • Eventide DSP4000 & H3500 harmonizers • GML stereo parametric EQ • Innovonics compressors • Langevin passive equalisers • Lexicon PCM70/80/480 reverbs • MXR Distortion Plus • Quest custom mixers • Roland Dimension D & C processors • Roland RSP550 multi-effects • Roland RSS10 3-dimensional effects • Roland SDE330 delay • Roland SDX330 chorus • Roland SRV330 reverb • Roland SVC330 vocoder • TC Electronics Fireworx multi-effects • Summit tube mic preamps

A Lexicon PCM-70 was part of John Ashton's guitar rig in 1985.

"Tone modules consisted of Sequential Circuits Prophet 5, Oberheim OB8, Yamaha TX-816s, Korg DVP-1, and Synclavier’s own FM modules. Lexicon PCM-70 was the only reverb unit used throughout the album."

Tweet from Robin Beanland in which he says he has a Lexicon PCM 70.

Lexicon PCM-70 Reverb

"The Lexicon PCM70 is a great unit - super expensive back in the day..."