![]() ![]() ![]() ![]() The plate settings can be terrific or terrible, and they generally fare well on vocals and horns. In a mix, they can be surprisingly convincing. Personally, I think the smaller room settings are terrific, especially for percussion or transient-oriented sounds. Finding a particular type of reverb is easy, because the program names very much describe the sound, and many of them include suggested applications (e.g., "wood room for drums"). Primarily a reverb unit, this box has a wide variety of reverbs available, from subtle to not-so-subtle-typical of early 90s Japanese design. The back panel has both +4 dBu XLR and -10 dBV 1/4'' left and right inputs and outputs, MIDI port, remote in and thru-puts, and a standard removable power cable. The front panel has a scroll knob, several buttons for programming, a green backlit LCD, a stereo input-level meter (nice!), a dual-concentric input knob (for separate left and right input levels), a dry output knob, an effect output knob, and a power button. It has 100 factory presets and room to store 256 user-created settings. The DPS-R7 is part of the single-rackspace series that Sony manufactured in the early 90s. ![]()
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