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Hi Michael, of course these early classics benefit enormously from the early digital reverbs that were available back then. Brian Eno used the Lexicon 224 most prominently on "The Pearl", plus some Eventide Harmonizer (probably the 910, as I believe the 949 wasnīt available around that time). I wouldnīt go for a vintage Lexicon today because it can be a hard piece of work to get them fixed in case they break. A Dynacord DRP-20(X) is my secret weapon for getting these huge and airy reverbs at a decent price (oops, now I gave away a secret...). The Dynacord is slightly noisy (hissy) but this can be filtered out rather easily (RSP Hush 2000 does miracles). It does "freeze" reverbs as well as various room simulations, and my tech told me the Dynacord used exactly the same processor as the Lexicon PCM-70, just the algorithms differed. In fact, I compared them, and I think the Lexicon excels at smaller room ambiences while the Dynacord can sound really huge. Adding a little external chorusing to the reverb (e. g. Roland Dimension D) produces these lovely, blurred washes of reverb. Just awesome! The DRP-15 is the smaller 1U version of the 20 but I was told it sounds even better, without that annoying hiss. You might also want to give the Roland SRV-330 or Sony DPS-R7 a try. Very underrated because they are *not* Lexicons... Hope that helps, Stephen. ____________________________________________________________________ "Ambition makes you look pretty ugly, kicking squealing Gucci little piggy." (Thom Yorke/Radiohead -- "Paranoid Android") Finally available: Stephen Parsick -- Traces of the Past Redux, reissued with three previously unreleased bonus tracks. Itīs out: [īramp] & markus reuter -- "ceasing to exist", a gorgeous dark ambient album. available through our webshop at www.doombient.com For info and audio, please visit the official [īramp] website at www.doombient.com ----- Original Message ----- From: "Michael Peters" <mp@mpeters.de> To: <Loopers-Delight@loopers-delight.com> Sent: Thursday, February 28, 2008 9:05 AM Subject: qualities of reverb > sometimes I love to listen to the dreamy music of Harold Budd, or Robin > Guthrie (Cocteau Twins). Their pianos and guitars are often drenched in a > very long and dense reverb that would put the Taj Mahal to shame - this > reverb has a depth, richness, and aliveness that is lovely to listen to, it > is not the linear, cold, and boring reverb that comes out of my Nanoverb. > How do they achieve that? it often doesn't sound as if they would simply use > echo or chorus to fatten the sound, it often seems to be nothing but reverb. > Is it just a matter of using one expensive reverb unit? Are there reverb > units which can create such a sound out of the box? > > I've put a Robin Guthrie sample here as an example: > http://www.veloopity.de/temp/guthrie.mp3 > > Michael www.michaelpeters.de