True stere reverb, virtually unknown outside Japan.

This is not a lexicon. While it has a somewhat 80s sound if abused it excels at subtle spaces. It really has it's own vibe unlike Lexi, eventide, yamaha or AMS. Its biggest selling point is that it is, as far as I know, the first true stereo reverb in that s signal panned one way will receive reverb as per your settings on that channel but will also be delayed at a lower level into the opposite channel to simulate the way sound sources at extreme sides of an actual space bounce around and hit your ears on both sides in different ways. It's very effective at this and I've never heard another stereo reverb apart from a quantec create such a convincing sense of physical position in the soundfield without doing some tricks with the sends and returns using an additional delay and maybe mid side processing. This unit also has a simple 4 band EQ available to shape the reverb into your echo returns without wasting a pricey outboard stereo unit. Its digitally controlled and settings are stored with the patch but it sound analog. Digital eq in the late 80s wasn't so hot and this eq is really musica and will handle mist of what you would want to do short of compressing the reverb prior to EQ. Oh yeah. Rather than a non-lin patch this guy boasts an actual gate that can be a bit finicky to set but works just fine or phil Collins and def lepard moments alleviating the need to waste a stereo dynamics processor on an echo return and cutting down patchbay spaghetti. The 2 channels can also be used as dual independent mono effects or a single series mono within certain limits defined by the software. Mist of what one would wish to do in mono is available via the front panel without patching the unit into itself.

This unit was originally designed for Ibanez but the sony version has improved algorithms and different presets though the hardware is identical. The ibanez 1000+ is the exact same unit as the sony badged version. These units are in every Japanese studio but weren't well known in the states. It's rare to find a 120v version. Most are 100v or ibanez branded. The identical ibanez is much less common than the earlier ibanez version. That unit is okay but not as good. Its subtle though.

Unlike later Sony processors the interface is user friendly and mostly self explanatory. Editing presets is a snap.

The distorted guitar room preset alone is worth the price of admission to me. Used judiciously with some tweaking it beats the reflex's guitar stage for subtlety and natural character sitting Rock guitars tight in the pocket with the drums and lending a sense of power to close miked speakers. Of course the reflex is a budget processor and this was high end in its day so theres that. Also of note is the sharp snare preset (a lot of the drum presets are amazing though there are some 80s cheese patches too) but using this just for snare is a bit if a waste unless you have 2. That said I always loved the SRV330 or SRV1000 when a snare needs its own over reverb and this guy just murders the rolands.

I have an ibanez version and just acquired a 120v sony unit. I like it that much. Probably my favorite affordable digital reverb apart from the klark teknik... and a serviced klark is 4 times the money for a mono to stereo unit.

Its biggest drawback as a sole reverb is that, like most of these processors or the 80s apart from the AMS and Klark units it is not full bandwidth so you automatically have rolloff. In practice this sounds realistic for most rooms but it definitely hurts it for bright reflective spaces and plates. If you want fake plate use a Lexi, TC (gold pkate!) or the exceptional Arturia plate routed from your interface to its own channel strip.

Preferred Settings + Usage: