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The delays on the PCM80 are amazing. You have an incredible amount of control in this box as so eloquently displayed, but what really gets me is the Concert Hall reverb. So much so that after owning a PCM80 for a year now, I still haven't gotten into the other reverb algorithms. It's as massive or subtle as you want it to be with trails that diffuse smoothly into the distance + it's quite true when people say the verb 'wraps around your sound'. I think it goes to 65 seconds at it's largest size, which should be infinite enough for most + the chorus and fx-width parameters add a ton of animation to something that's already quite 3D sounding. I've really got to get into the other reverb algorithms on this, but Concert Hall is just too perfect.
My reference point is an Eclipse. Just as good, but different. This thread really shows what litte progress there have been in effects since the 90's. Basically nothing, just going backwards even, with dumbed-down interfaces not giving you remotely as much cortrol over your parameters compared to the Pcm-81 and Eventide Hxxx and some others.
Pedal delays and reverbs may sound better than ever, but the lack of control compared to the big boys can be frustrating. I love the concept that Source Audio, TC Toneprint and Eventide with the H9 is on to, a realtively simple user interface, with app control to dig a bit deeper, but they still have a long way to go for this level of control. Click to expand.I appreciate it. You need a special attachment to remove the screws. The way the pcb board is laid out, in the area for the stock memory chips which I think are 12 pin, in same area is overlaid the layout to upgrade to higher capacity 14 pin chips, if you do the removal and de soldering of the original chips. The lxp 15 has the same thing, too, so I guess someone was thinking about an 8 second expansion there, too, which might also be cool for loops with the pitch shifter.
I know the Jamman seems to know when it has more memory. Just wondering if it's true for the others, since the difficulty of installation in a vortex would be considerable.
I was also thinking perhaps a combination Vortex/Space Station reissue might be a winner. Click to expand.Amen! This reminds me of a post I wrote recently on another forum in response to somebody saying that the present day was a 'Golden Age' of effects, and the 90s were a time of a lot of 'subpar' stuff (to be fair, when it comes to pedals.he did have a point! Click to expand.I'm hoping Source Audio will make good on their plans to eventually release the same editor that they use (remember, TC never did this-the Toneprint editor they released for the public still doesn't do everything their editor does! Once and if that happens, things will get a LOT closer-of course, that all depends on how complex the algorithms are in the first place and what kind of modifiers are available, but so far it looks like it really does have the goods underneath. Click to expand.After I read this, I realized that I hadn't looked at the algorithms for the Vortex in years (definitely before I got my PCM80!), so I got the manual out again. I really forgot just how crazy the algorithms were!
Some really off-the-wall, great stuff in there.some of them can be replicated on the PCM80 (usually when a smaller Vortex algorithm 'fits inside' a PCM80 structure), others are better represented on the MPX-1/G2, and others I don't think could be done on either of those. I don't own a Vortex myself so I have no real experience doing the 'audio morphing' thing, but I do believe there is some potential here to do some of it on the PCM80, because of how well a lot of the parameters are interpolated on it (especially glide modulation-that's a big one!
One that I will make another post about here soon). I will try to take a closer look and see where everything matches up! Overall though, I think the best piece of gear you could possible use to replicate a Vortex is not another Lexicon, but a 'modern' 2U Eventide (DSP4000/7000/Orville/H7600/etc.). Regarding how much control one has with certain gear. I love using the control options on the Boss GT series. I suspect I'm in the minority, and that most people have never used the Assigns.
I suspect that there are two different main markets, one centered on those who dive deep on equipment (recording engineers, tech-minded musicians), and the other on those who want simplicity of use. I don't mind learning new gear, and normally dive as deep as possible into my gear. Others find multieffects challenging. I don't know how much of a marrket there ever was for things like the Digitech TSR24, a hugely capable rack piece, or for any piece of rack gear.
I do appeciate them, though. The delays on the PCM80 are amazing. You have an incredible amount of control in this box as so eloquently displayed, but what really gets me is the Concert Hall reverb. So much so that after owning a PCM80 for a year now, I still haven't gotten into the other reverb algorithms. It's as massive or subtle as you want it to be with trails that diffuse smoothly into the distance + it's quite true when people say the verb 'wraps around your sound'. I think it goes to 65 seconds at it's largest size, which should be infinite enough for most + the chorus and fx-width parameters add a ton of animation to something that's already quite 3D sounding. Click to expand.That FX Width is really incredible with the modulated Concert Hall!
Click to expand.Try the Plate! You wouldn't believe what it does on longer decay settings-nothing like the pedals! When you really turn up the mid-rise times and room sizes, certain qualities emerge in the reverb tail that just don't exist on the shorter settings-some very nice repetitive delay structures in there that just sound so nice.kind of hard to describe, but they would really be great for ambient sounds, and there's also two EkoDelays that feed back into the reverb as well (with recirculated diffusion!), so you have tons of different ways to create reverbs in here apart from the usual decay rates/room sizes/etc.
Apart from that, on shorter decay times/sizes, the Plate is definitely my preferred reverb on here for when I'm doing 'traditional' rock sounds, as it's definitely the closest to an amp reverb or the old 70s studio plates-and the really nice thing about it is, when the Predelay is set to 0 (or something very short at least), it really becomes part of the guitar's tone, much like an amp reverb-it's hard to tell where your guitar ends and the reverb begins! The tone of it is that nice. The EkoDelays Modulated Delays Diffusion 'Trick' for Chorus+Rvb This is one of those times that the (otherwise excellent) manual truly fails at conveying just how one of the greatest features in this machine actually works!
In fact, it's only hinted at, and not very well. Referring back to the drawings, you can see that there's kind of a discrepancy between how the Diffusion block is placed here-notice that it seems to be at a different places in the 'overall' diagram vs. The Plate reverb diagram below: Based on everything I've done so far-in both this and M-Band+Rvb (which has a similar thing going on)-I believe these are the same block! So what does this mean? It means that those EkoDelays-which can even be run as just delays, without reverb on at all-can, when the diffusion is on (even on '1%'), be fed back into the V1-V6 modulated delays!