Few effects define a musical era in quite the same way that digital 1980s reverb does. Although we’ve seen so many advancements in audio since then, those classic ’80s reverb sounds are still popular and sought after today.

There are numerous factors that led to this – and few of them are completely rational – so together we’ll look at digital reverb and how to go about using it in your production.

We know it’s not purely due to the sound because we don’t use the same techniques as we did when digital reverb was first introduced. It must be a combination of factors, including the interface design and the nostalgic sentiment of using retro-styled creative tools.

The story of digital reverb

It begins in 1976 with the EMT 250. Digital reverb provided a controlled environmental ambience with a low noise floor, which was revolutionary in the recording process. Until that time, the use of plates, springs, and re-amping had been some of the methods commonly used to add spatial characteristics to a sound.

Studios also evolved drastically due to the introduction of the SSL 4000 E series(and later G series) consoles. This provided unprecedented routing flexibility and when combined with the newly available tools of the time like analogue synthesizers and digital samplers, we got the magical explosion in the record industry that was the 1980s.

Digital reverb units like the AMS RMX16, Lexicon 224X, Yamaha REV-7, and the Sony DRE-2000 became icons of this era. They were used on so many of our favourite records and engineering superstars like Chris Lorde-Alge still use vintage reverb units or their software equivalents in every mix.

Using 1980s reverb in your studio

Like many effects we use for tonal quality, reverbs are available in several formats. The set-and-forget approach we take with leveling amplifiers is often used with reverbs too. This is due to the rather involved technical process that comes with designing your own reverb patches.

Good reverb units were never cheap, but you can get great-sounding reverb without the risk of buying a temperamental and astronomically priced vintage reverb. There are factors to consider like the advantages of software vs hardware, so we’ll check out some options and find something suitable for your setup.

Reverb software plug-ins

Having multiple instances of quality reverb plug-ins available in a single click is an incredibly powerful creative tool. Software provides instant gratification without patch cables, which makes it extremely convenient.

Remember though, that some vintage reverb units were one-trick ponies in the studio. So, unless you’re after the sound of a specific make or model, ensure you select something that has some versatility.

UAD AMS RMX16 Expanded

Developed in collaboration with AMS founder, Mark Crabtree, the AMS RMX16 Expanded plug-in is an authentic emulation of one of the most famous reverb units of all time. The no-nonsense UI gives you the classic controls without menu diving, which makes it a pleasure to use.

Like most UAD plug-ins, it sounds great, but it also has all the original patches so you get a realistic feel of using the RMX16 reverb in all its glory. All the famous algorithms are included, like the ambience and non-linear reverb settings, and it’s now available natively for any DAW.

• More from Universal Audio

Universal Audio Custom Bundle – Pick Any 3 Download No customer rating available yet

Available for 217.00 € at

Slate Digital Verbsuite Classics

Verbsuite Classics puts all the famous reverbs in one easy-to-use plug-in. The controls are simple but effective, and the EQ and chorus allow you to shape the sound according to your desired application easily.

What it lacks in looks and features, it makes up for with its sound. Even if you never deviate from the patches, Verbsuite gives you a wide range of reverbs to choose from.

• More from Slate Digital

Slate Digital Verbsuite Classics Download

Customer rating:

(12)

Available for 149.00 € at

Lexicon PCM Native Reverb Bundle

The Lexicon PCM Native Reverb plug-ins have become an industry standard over the years. The bundle gives you seven different reverbs, each with its own patch library. The controls are reminiscent of the PCM96, providing detailed controls and visual EQ.

If you’re a lover of the Lexicon sound, this is an easy choice. Although it’s a considerable investment, it does offer a huge amount of flexibility and control beyond simply being a quality reverb.

• More from Lexicon

Lexicon PCM Native Reverb Bundle Download

Customer rating:

(23)

Available for 269.00 € at

Audio Ease Altiverb 8

Quite simply, Altiverb 8 is the Omnisphere of reverb plug-ins and one of the most powerful reverbs available in hardware or software. If you work as an engineer or sound designer in games, TV, film, or music – you’ve probably used it before.

Among its amazing spaces and IR designing capabilities, Altiverb also offers astonishingly realistic vintage reverbs from AMS, Lexicon, Yamaha, and many others. It is pricey, but at least you won’t be needing another reverb any time soon.

• More from Audio Ease

Reverb Effects Pedals

Not all reverb pedals are exclusively designed for guitars. Some offer line-level I/O to suit other instruments like synths and drum machines. This is great for using them on aux sends from your mixer, just like you would with outboard rack gear.

Apart from that, they offer great sounding effects and some even allow you to stack multiple reverb patches and create more complex layered sounds. The creative immediacy of working with a live tweakable instrument also has its own appeal.

Meris Mercury 7 and MercuryX

Inspired by Vangelis’ shimmering, modulated Lexicon 224 reverb sounds from the Bladerunner soundtrack, the Mercury 7 is a pedal version of its 500 series counterpart. The Meris 24-Bit AD/DA with 32-bit floating point DSP engine combined with true analogue signal path means you get studio-quality sound.

In addition, the Mercury 7 offers two different reverb algorithms (Ultraplate/Cathedra) and extensive tone-shaping capabilities. Apart from the EQ, the pitch vector allows you to accurately shift the wet signal for whichever instrument you’re using.

• More from Meris

Meris Mercury 7 Reverb Pedal

Customer rating:

(30)

Available for 349.00 € at

Meris Mercury X Reverb Pedal

Customer rating:

(4)

Available for 699.00 € at

Eventide Space

The Eventide Space pedal gives you 12 signature reverb combo algorithms and 10 knobs to design the sound to your liking. Furthermore, you get 100 patches designed by top engineers and producers like Richard Devine, Alan Moulder, and Flood.

The Space is well built with a metal chassis, so it’s rugged enough for the road. Also, it has great features like MIDI sync via DIN or USB to combine it with other hardware in your setup or even your DAW.

• More from Eventide

Eventide Space

Customer rating:

(103)

Available for 457.00 € at

Empress Effects Reverb

Empress Effects are known for creating some of the most innovative designs when it comes to pedals and the Empress Reverb is no exception. Not only is this an amazing-sounding reverb, but it’s also a very versatile creative tool with 32 reverb algorithms and the ability to further update the firmware via SD card.

Overall, it’s a great combination of good build quality and simple effective design. You will, however, need a re-amping device for it to function optimally as a line-level outboard processor.

• More from Empress Effects

Empress Effects Reverb

Customer rating:

(60)

Available for 549.00 € at

500 Series reverbs

500 Series effects give you much of the same quality as 19″ rack gear, but the more compact format provides certain benefits. In studio, these are great units if you don’t have much space and they offer excellent portability for live use.

All it takes is the right 500 series chassis and you can put your own rig together. Be aware of the space requirements before you look at purchasing these units, as some are larger than others.

Meris Mercury 7 500

The Mercury 7 500 has all the same features as the pedal version save for the swell and bypass switches. The fundamental difference is that the 500 series version is a single-space mono unit with more expandability.

It is both stereo and surround linkable, which makes it extremely formidable considering the cost of high-end studio reverbs. Overall, the approach of the Mercury 7 500 is refreshing, as it encourages real-time sound-shaping rather than sticking to one patch.

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Meris 500 Series Mercury 7 Reverb

Customer rating:

(1)

Available for 549.00 € at

AMS Neve RMX16 500

The RMX16 500 is AMS Neve’s rather recent reissue of the 1981 classic reverb. It takes up three spaces in your 500 series rack and has a very straightforward interface, making it a breeze to build and save patches.

Best of all though, it’s almost impossible to distinguish from the sound of the vintage RMX16. The character is captured in every way, with the I/O stages perfectly modeled and all the original patches maintained.

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AMS RMX16

Customer rating:

(2)

Available for 1,369.00 € at

Rackmount reverbs

This is where we get into the higher-end side of reverbs available. You certainly don’t need to spend $2000 simply to create a decent 80s reverb sound. However, it will get you a top-of-the-line reverb capable of creating reverbs for any application.

The great thing about high-end hardware reverbs is that they don’t seem to date, lose much resale value, or go out of style. Once you have one of these in your rack, you are far less likely to keep buying every newly released product as you would with software.

Lexicon PCM92

Lexicon’s PCM92 has all the features you’d expect from a professional stereo reverb. This includes 28 new and classic reverb, delay, and modulation effects and a library of over 700 presets to choose from.

The PCM92 supports up to 96kHz sample rate with its 32-bit floating point system. In addition, It’s equipped with pro-industry connectivity formats such as AES/EBU, word clock, and ethernet. This makes it easy to slot into just about any studio or live setup.

• More from Lexicon

Lexicon PCM96 Surround D No customer rating available yet

Available for 4,990.00 € at

Bricasti M7

Bricasti was founded by DSP engineer, Casey Dowdell, and Brian Zolner – who has 20 years of experience working with Lexicon. The Bricasti M7 was launched in 2007 and fast established itself as the industry standard professional reverb unit worldwide.

With the ability to produce huge reverbs, transparent chambers, and anything in between, M7 owners are unlikely to ever need another digital reverb. The M7 gives you 100 presets with 12 tweakable parameters and all the pristine DSP you’d expect for the price.

• More about Bricasti

Bricasti Design M7

Customer rating:

(17)

Available for 4,979.00 € at

Quantec Yardstick 2496 S

The German answer to AMS and Lexicon, the Yardstick 2496 S is based on the classic Quantec QRS digital reverb from 1982. It’s just astonishing how transparent an early 1980s reverb algorithm still sounds today when compared to other professional reverbs.

The Yardstick comes with a web app that gives you comprehensive control over its wide range of parameters and the ability to easily match the reverb to the dimensions of the original recording space.

• More about Quantec

More about 1980s reverb and vintage effects:

• All about reverb
• Everything vintage
• Dub delay plug-ins

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The post Why do we still use 1980s reverb? appeared first on gearnews.com.

We look into the creative process of world-renowned and critically acclaimed drummer, singer, songwriter, and producer Phil Collins.

After developing a reputation as a session drummer and a key member of the English progressive rock band, Genesis, Phil Collins began his career as a solo artist.

The Phil Collins Sound

He may have been unaware, but looking back, the timing of this foray was ideal. The period in the late 1970s and early 1980s was completely revolutionary for the recording industry, with so many new creative musical tools introduced onto the market.

Another interesting aspect of Phil Collins’ approach to music production is that he never intended to write hits initially. Rather than fame or commercial success, he simply saw his solo project as an artistic outlet that offered him the freedom of expression he wanted.

Roland CompuRhythm CR-78

Introduced by Roland in 1978, the CompuRhythm CR-78 was the first-ever microprocessor-controlled drum machine. Although limited, it has the ability to select and vary 34 different rhythm patterns.

With its intuitive interface, the CR-78 became an absolutely integral part of Phil’s songwriting process. He would start by selecting the rhythm part with the right “atmosphere” as he put it, and setting the tempo to match the feel he had in mind.

With the tape machine running, the CR-78 was always positioned just next to Phil’s drum kit. This way, he could play drums and sing over the unrelenting loops created by the CR-78, building ideas and arrangement concepts as he went.

If you’re looking for the classic CompuRhythm sound with all its familiar drum patterns, the Cherry Audio CR-78 plug-in provides an easy way to recreate it in your DAW.

• The History Of Roland

Cherry Audio CR-78 Drum Machine Download No customer rating available yet

Available for 49.00 € at

Sequential Circuits Prophet-5

When Phil went solo in the late 1970s, there wasn’t a massive range of polyphonic synths available like we have today. That being said, many of us would likely still prefer a Prophet-5 over many modern options.

The illustrious Prophet 5 was still quite new on the market when Phil began work on his debut album. With its simple controls and 5-voice architecture, you can generate anything from innocuous to outrageous sounds.

The beauty of the Prophet is that it’s easy to program, and like the Oberheim OB-8 he also acquired later, it always managed to sound interesting, whether it was placed in the background or the foreground of the mix.

You can hear the famous Prophet-5 chord sequence in the intro of In The Air Tonight, where it becomes the foundation of the song, along with the CR-78. The Sequential Prophet-5 is still in production as a reissue that can mimic the original’s various revisions.

• The History Of Sequential

Sequential Prophet 5

Customer rating:

(14)

Available for 3,799.00 € at

Roland VP-330 Vocoder Plus

The VP-330 Vocoder Plus is another exciting instrument used by Phil Collins on his debut solo recordings, notably on In The Air Tonight. This sought-after instrument combines a paraphonic 10-band vocoder and a string synthesizer.

With the VP-330, you don’t actually have access to control each individual band. However, the presets sound great, and when combined with the BBD Ensemble effect, you can produce a hauntingly beautiful sound.

The fact that the VP-330 is relatively easy to use would have suited Phil nicely when putting together his first record, Face Value. His improvisational song and lyric writing style relies on spontaneity, so highly technical interfaces can sometimes hinder this.

As a modern alternative, the Behringer VC340 gives you the same authentic sound with an almost identical interface. Its limitation could well be a catalyst for creativity when making any style of music.

• More about Behringer clones

Behringer Vocoder VC340

Customer rating:

(106)

Available for 498.00 € at

SSL Listen Mic Compressor

Like most of the creatively groundbreaking aspects of the early Phil Collins records, the ideas came together while simply “messing around”. Similarly, the famous Phil Collins gated drum sound has an origin story that is also unintentional.

In 1979, engineer Hugh Padgham was working on a Phil Collins drum session for Peter Gabriel’s third solo album at Townhouse Studio in London. By accident, the talkback mic was left active while Phil was playing, resulting in a thunderous effect.

As the talkback circuit in the SSL 4000 B console couldn’t be patched into the recording path, Padgham promptly rewired it, allowing his mistake with the Listen Mic Compressor to be used creatively.

What we hear on the subsequent Phil Collins drum recordings is a more evolved version of this, with the addition of the recording console’s noise gate implemented.

• More about Analogue Consoles

SSL LMC+ Download

Customer rating:

(2)

Available for 135.00 € at

AMS RMX16

The AMS RMX16 is a legendary digital reverb introduced in the early 1980s that Phil Collins was an early adopter of. It offered a selection of great-sounding reverbs and ambiences, with the now legendary non-linear algorithm that worked well on drums.

Once again, the interface is certainly Phil Collins friendly, offering easy operation and the ability to save your own presets. This allows the RMX16 to be used creatively rather than clinically, which suited Phil’s songwriting process.

At the time, there simply weren’t microprocessor-controlled reverb units like the RMX16 around that gave you both precision and flexibility. So it’s no surprise that it’s still a sought-after reverb in both plug-in and hardware format today.

In recent years, AMS Neve has created a 500-series reissue of the RMX16 with a similar interface and the same reverb algorithms, a great addition to any studio setup.

• More about 1980s Reverb

AMS RMX16

Customer rating:

(2)

Available for 1,369.00 € at

Which of your favourite artists would you like to see in our Sound-alike series? Please let us know in the comments below!

More about Phil Collins:

• Official Artist Page
• More Sound-alikes

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The post I Can Feel It: How To Sound Like Phil Collins appeared first on gearnews.com.

This week’s edition of Synth Deals brings you a selection of offers ranging from affordable synth modules to effects units and processors.

Synth Deals

Maybe you’re an experienced musician who’s never dabbled with synthesizers, or a complete beginner. Either way, this is a great opportunity to save on getting your first synth. Let’s take a closer look at the offers available:

Behringer JT-4000 Micro

The JT-4000 Micro takes you back to the 1990s with its recreation of the Roland JP-8000 virtual analogue synth engine. This little module uses a 12-bit DA converter and provides two oscillators per voice as well as a 2-operator FM synthesis engine.

Another interesting factor is its analogue filter, with accessible controls. So, you have the ability to use a range of different waveforms including the famous Supersaw, and shape the sound with ease.

Overall, the JT-4000 Micro is an exciting synth for the price. What’s more, its convenient USB-C connectivity both powers the synth and gives it MIDI capabilities.

• Save 10% on the Behringer JT-4000 Micro now at $44
• More from Behringer

Behringer JT-4000 Micro

Available for $44 at

SOMA Metaconformer

Is your DAWless jamming setup beginning to feel a bit stagnant? Enter the SOMA Metaconformer. This versatile MIDI processor can reconfigure your workflow in some very fun ways.

With its three modes, you can change your MIDI signal path. For instance, the Combiner mode will allow you to control several monosynths simultaneously with a single polyphonic input.

Meanwhile, the Splitter mode allows up to 8 zones per MIDI channel. What’s more, the Translator mode can convert note information into CC messages and there’s also a clock output function which is very useful.

• Get nearly 10% off the SOMA Metaconformer now at $169
• More from SOMA

SOMA Metaconformer

Available for $169 at

Jomox T-Resonator II

The Jomox T-Resonator II is a very tweakable stereo analogue effects box with 8 different delay algorithms for creative sound processing. These include chorus, flanger, waveguide, delay, and reverb effects.

Once you’ve selected the effects program you want to work with, you then have two program-specific parameters with which to tweak the sound. In addition, the dual-filter matrix provides a versatile platform for sound shaping.

Here, you can create feedback loops with colourful or angry resonant peaks which is useful on drums, synths, guitars, and more. Overall, the T-Resonator II presents a different approach to effects processing, and it’s especially suitable for electronic music.

• Save 25% on the Jomox T-Resonator II now at $249
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Jomox T-Resonator II

Available for $249 at

KORG microKORG XL+

Now a modern classic, the microKORG XL+ is an 8-voice virtual analogue synthesizer with a 16-band vocoder. The microKORG never offered a control per parameter interface, but it did provide an intuitive platform for selecting and tweaking sounds.

The 128 presets are categorized into music genres and types, while the synthesis controls and effects are accessible with the three knobs on the top right of the keyboard.

Although simplistic, the microKORG XL+ is surprisingly versatile and sounds great, with a range of 17 KAOSS effects to add expression and character.

• Get 25% off the microKORG XL+ now at $456
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KORG microKORG XL+

Available for $456 at

ASM Hydrasynth Explorer

The ASM Hydrasynth Explorer is a unique 8-voice digital wave-morphing synthesizer with the ability to shift between oscillator waveshapes. With each of its three oscillators, you can select from the range of 219 waveforms.

From there, you have a dual-filter section, five 5-stage envelopes, five LFOs, and a flexible mod matrix for adding further animation to your sounds.

What’s more, you can add effects such as chorus, rotary cabinet, flanger, phaser, tremolo, EQ, Lo-Fi, compressor, reverb, and delay. Overall, with MIDI I/O, CV outs, USB connectivity, and portable battery operation, the Explorer is a versatile synth.

• Get nearly 15% off the ASM Hydrasynth Explorer now at $519
• More from ASM

ASM Hydrasynth Explorer

Available for $519 at

More about Synth Deals:

• All about Synthesizers
• More Deals

*Note: percentage discounts may vary according to your region and currency conversion rates on the day of purchase. Displayed percentage discounts are guidelines only.

The post Synth Deals from Behringer, KORG, ASM, and Jomox appeared first on gearnews.com.

In this week’s edition of Software Deals, we’ve got softsynths and plug-ins galore. If you act fast, you can get some serious savings.

Software Deals

If you’re a music producer, mix engineer, or an artist looking for new ways to create sounds, we’ve picked out an exciting selection of offers that will inspire creativity in your workflow. Let’s take a closer look at the deals currently available:

Soundtoys February Mini Sale

Until February 15, you can get up to 75% off selected processing plug-ins from Sountoys. This sale includes reverbs, delays, and other creative music production effects for your DAW.

You can shop the entire sale here with this link, and the individual offers are as follows:

• 40% off Effect Rack now at $161
• 65% off SuperPlate now at $44
• 75% off EchoBoy now at $44
• 60% off PrimalTap now at $35.25
• Save 60% on Devil-Loc Deluxe now at $35.25
• 60% off PanMan now at $35.25
• More from Soundtoys

Soundtoys Effect Rack

Available for $161 at

Cherry Audio Rackmode

The Cherry Audio Rackmode Signal Processors collection brings eight vintage effects to your DAW, based on the 1970s Moog Rack Effects that accompanied the famous Moog Modular systems of the time.

The Rackmode collection includes both the software instrument and effects plug-in versions of the legendary Moog 16-band Vocoder, as well as the 12-stage Phaser, the Bode Ring Modulator, the String Filter, the Bode Frequency Shifter, the Graphic EQ, and the Parametric EQ.

To get started, you also get over 150 presets for processing different instruments from drums, keyboards, guitars, and more.

• Save 70% on Cherry Audio Rackmode now at $35.25
• More from Cherry Audio

Cherry Audio Rackmode Signal Processors

Available for $35.25 at

Arturia Pigments 5

Arturia Pigments 5 is a powerful software synth with four sound-generating engines. These include the Harmonic engine, which can use up to 512 partials, as well as phase modulation.

Meanwhile, the Wavetable engine gives you a choice of 164 wavetables with ring modulation and pulse width controls. What’s more, the Utility engine provides a sub-oscillator with two noise layers.

With a powerful effects section, unison section, extensive mod matrix, vintage filters, and MPE support Pigments 5 is an amazing platform to create any sound from simple leads and basses, to rhythmic soundscapes.

• Get 55% off Arturia Pigments 5 now at $88
• More from Arturia

Arturia Pigments 5

Available for $88 at

AAS Chromaphone 3

Until March 4, you can save 50% on the Chromaphone 3 physical modelling synthesizer plug-in from AAS. The dual-resonator system provides 8 modeling sources like strings, plates, and tube for sound creation.

When combined with the integrated effects rack, Chromaphone becomes a powerful platform for creating very different sounds compared to the average wavetable or virtual analogue synthesizer.

In addition, with performance-based macros and an impressive patch library with plenty of expansion options, Chromaphone is a great tool for sound design, film scoring, and avant-garde music production.

• Save 50% on AAS Chromaphone 3 now at $80
• More from AAS

AAS Chromaphone 3

Available for $80 at

Ableton Live 11 Suite

Ableton Live 11 is a performance-focused DAW system with an incredible time-warping engine. From the get-go, you’re confronted with the clip launch window, which is a catalyst for ideas.

In addition, the Live 11 Suite includes a range of instruments and effects, Max support, as well as an entire library of loops and samples for creating almost any style of music.

However, possibly the most exciting aspect of Live is the way it links with external controllers and instruments. This makes it a great choice for creating music and performing live.

• Get over 40% off Ableton Live 11 Suite now at $433
• More from Ableton

Ableton Live 11 Suite

Available for $433 at

More about Software Deals:

• All about Software
• More Deals

*Note: percentage discounts may vary according to your region and currency conversion rates on the day of purchase. Displayed percentage discounts are guidelines only.

The post Software Deals from Soundtoys, Arturia, Ableton, and Cherry Audio appeared first on gearnews.com.

If you’ve got keyboard skills, or even if you don’t, workstations provide an amazing set of tools for creating music. To help you navigate this process, we’ve selected some of the best workstation keyboards under $2500.

Workstations became extremely popular in the late 1990s and early 2000s, when producers like Timbaland and Scott Storch dominated the charts with the sounds from workstations from Yamaha and Korg.

As music moved into the button-bashing phase, the keyboard-driven production style waned in popularity. It’s still, however, a very effective way to get a unique and dynamic feel into the core of your tracks.

Choosing the best workstation keyboards under $2500

With the overall sound engine quality as a priority, we’ve selected keyboards based on sound creation and synthesis capabilities, arrangement and production features, as well as live performance functionality.

Yamaha MODX8+

The MODX8+ is an 88-key GHS (Graded Hammer Standard) synth workstation keyboard with Yamaha’s advanced Motion control synthesis engine.

There are 2 parts to this engine, each with 128 voices:

• The AWM2 (2nd-Gen Advanced Wave Memory) section with 5.67 GB of ROM waveforms and an additional 1.75 GB of flash ROM for user waveforms
• The incredibly powerful 8-operator FM-X synthesis engine with 88 algorithms

In addition, the MODX8+ has built-in effects and EQ for both the individual parts and the master section and a bank of over 2000 performance presets.

• More from Yamaha

Yamaha MODX8+

Customer rating:

(7)

Available for 1,699.00 € at

Roland Fantom-08

With the Fantom-08, you get an extremely versatile instrument with features for both music production and live performance. It’s equipped with an 88-key PHA-4 (Progressive Hammer Action) keyboard, 256-voice polyphony, and five sound engines.

Apart from the impressive sound library and sound-shaping tools, you also get a 32-band vocoder, an 8-voice pad sampler, and the onboard 16-track sequencer with step recording and TR drum programming.

The fun part about the Fantom series is you get a great collection of sound from classic Roland synths. When combined with the rhythm pattern creator, arpeggiator, or chord memory function, this can be seriously fun.

• More from Roland

Roland Fantom-08

Customer rating:

(10)

Available for 1,659.00 € at

AKAI MPC Key 61

The AKAI MPC Key 61 is a complete music production and DAW control platform with recording, sequencing, sampling, and synthesis capabilities. Although the MPC Keys can do it all, it can still become the center of your studio or keyboard rig.

With MIDI I/O, CV/Gate outputs, and an additional set of outputs, you can sequence other instruments, connect your Eurorack synth, or incorporate your outboard gear into your workflow.

As an instrument, the MPC Keys allows you to get started immediately with 25 instrument plug-ins, over 6000 preset sounds, and 100 different multi-effects.

• More from AKAI

AKAI Professional MPC Key 61

Customer rating:

(16)

Available for 1,298.00 € at

Korg Nautilus 88

If you’re looking for a complete keyboard-driven music production system, the Nautilus 88 provides creative tools in almost every aspect.

With up to 200-voice polyphony and 9 sound engines including SGX-2, EP-1, HD-1, AL-1, CX-3, STR-1, MOD-7, MS-20EX and PolysixEX, you’re well equipped to take on most modern music styles.

Apart from the 16-track sequencer, the Nautilus also provides sampling capabilities and a 24-bit 48kHz 16-track audio recorder with 16 different effects processors and 3-band EQ on every channel.

Korg Nautilus 88

Customer rating:

(5)

Available for 2,499.00 € at

• More from KORG

Kurzweil K2700

The K2700 is an incredibly versatile instrument from the expressive 88-key Fatar TP/40L keyboard to the realistic Kurzweil sound engines onboard.

These include the V.A.S.T, 6-operator FM, and VA1 Virtual Analogue synthesis engines, the KB3 ToneReal organ, and K.S.R. (Kurzweil String Resonance) modeling technology.

The K2700 has a 16-track sequencer and also offers a MIDI CC sequencer for automation which is useful, and the comprehensive effects section gives you so much creative power.

• More from Kurzweil

Kurzweil K2700

Customer rating:

(11)

Available for 2,879.00 € at

More about Workstation Keyboards:

• More about keyboards
• All about synths

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The post The Best Workstation Keyboards under $2500 appeared first on gearnews.com.

Dub pioneer Lee Scratch Perry was a mystical figure who had a major influence on recording and electronic music culture in many ways.

Like his music, Perry was a man of many colours and he went through different phases throughout his career. He began working with labels like Studio One and Amalgamated Records, before forming his own label, Upsetter Records, in 1968.

This was a particularly tumultuous time during which Perry broke ground by releasing controversial singles like People Funny Boy and Run for Cover that took shots at figures within the music industry.

He also achieved success with his studio band, The Upsetters, with an instrumental called The Return of Django in 1969. However, it was his haunting and outlandish production of The Wailers’ single Mr Brown that would set the tone for his future work as a producer.

The Lee Scratch Perry Sound

As an artist, engineer, and producer of music styles such as Dub, Reggae, and Rocksteady Soul, Perry was prolific, notably working with Bob Marley, Junior Murvin, Max Romeo, Eric Gale, and many others in his famous Black Ark Studio from 1973 to 1978.

Like many artists in Jamaica at the time, Perry didn’t have access to the latest studio gear. This didn’t bother him or hold him back, though. In fact, he developed his profoundly unique methodology by working on decidedly average equipment, as well as handmade and modified gear with a few interesting pieces here and there.

TEAC A3340

In the days of Lee Perry’s Black Ark Studio, the TEAC A3340 was the main tape recorder used in sessions, along with another TEAC 2-track recorder for mixing down.

The A3340 was a quarter-inch 4-track tape machine that was released in 1972 for semi-professional or home recording use, and quickly became a hit amongst artists and was widely used throughout the 1970s.

While Perry’s apparent practice of breathing the smoke from a certain medicinal plant onto his tape reels may have worked wonders for him, there’s no tangible evidence of its effect on the sound.

You too can take the tape route, and with a correctly calibrated machine and good-quality tape. Alternatively, the T-Racks Tascam Tape Collection from IK Multimedia has a detailed software recreation of the A3340.

• More about Tape

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RTM LPR 35 1/4″ 1100m Plastic Reel

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Grampian 636 Spring Reverb

While some dub artists like Mad Professor condemned spring reverb, the Grampian 636 was a main fixture in the Black Ark Studio, imbuing its character on many recordings.

For a spring reverb, the 636 is unbelievably clean-sounding and creates a sense of space without allowing sounds to get lost in the mix. Another key aspect of the 636’s allure is its preamp, which can subtly introduce colour or create distortion effects.

The key to using spring reverb in a dub context is to use it as a parallel effect on the aux sends of a mixing desk. This gives you real-time control to send any channel to the spring reverb in varying amounts.

The 636 and its subsequent recreations have always been sought-after pieces of studio kit, but never before has it been more accessible than the Behringer Spring Reverberation 636.

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Roland Space Echo RE-201

The Roland Space Echo was first introduced in 1974, making it a prime Black Ark era piece of gear. It combines a tape echo and a spring reverb in one easy-to-use and very tweakable unit.

The main control knob selects a different configuration of tape heads, spring reverb settings, or a combination of both. Meanwhile, the range of knobs includes EQ for the reverb, and intensity and rate controls for the tape echo.

Besides its unique sound, the Space Echo is popular because it allows you to easily manipulate sounds with a performance-orientated approach. For this reason, it is a perfect tool for dub music and essential to Lee Perry’s sound.

A more compact, and lightweight option is the Boss RE-202, which adds controls for Saturation and Wow & Flutter. Meanwhile, there are many other ways to create the sound of the Space Echo, so be sure to check out this post for more details.

• Space Echo Alternatives

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Mu-Tron Bi-Phase

Another key aspect of the Lee Perry sound is the Mu-Tron Bi-Phase pedal that he used for delay effects. Unsurprisingly, the Bi-Phase was also released in 1974, using photocell circuitry which offered a wider dynamic range than the average FET phaser.

One of the core elements that makes the Bi-Phase unique is the feedback controls. This allows you to emphasize the peaks within the phase shift loop where no cancellation was present, resulting in that fat, colourful sound we love.

The Bi-Phase is particularly effective when stacked on dub delays, so each step is coloured in a slightly different way. The beauty of the effect is that it’s far from being a one-trick pony, hence the range of artists that have created great sounds with Bi-Phase also includes Billy Corgan of the Smashing Pumpkins.

As a modern alternative, the Behringer Dual-Phase gives you a recreation of the Bi-Phase without paying vintage prices, and it also has CV input for external control.

• More about Phaser Effects

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Alice Mixing Console

Finally, at the center of the Black Ark Studio, was an Alice Mixing Console. This colourful-looking board was in fact designed for broadcast purposes and never regarded as a professional console by Lee Perry.

However, although they lack the same routing options as recording consoles, broadcast desks are generally equipped with great preamps and EQs due to the focus on speech intelligibility.

Moreover, Alice consoles specifically had impressive headroom for mixers in the 1970s in their price range. What’s more, there was a built-in stereo limiter on the output which ensured that your signal didn’t melt the tape.

Which mixing desk should you use for creating dub music? Undoubtedly, one with a wealth of aux sends like the Allen & Heath MixWizard WZ4.

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Allen & Heath WZ4 16:2

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Which of your favourite artists would you like to see in our Sound-alike series? Please let us know in the comments below!

More about Lee Scratch Perry:

• Lee Perry’s Linktree
• More Sound-alikes
• Creating dub delays

*Note: This article contains promotional links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!

The post The Upsetter: How To Sound Like Lee Scratch Perry appeared first on gearnews.com.

Thomann has a fantastic deal on these Eventide H9 Max Harmonizers. With both the limited edition H9 Max Blue and the H9 Max Dark included in the sale. These are perfect for guitars, synths, and more.

H9 Max Harmonizer Deal

Both of these Eventide H9 Max Harmonizer models offer a massive range of useful effects, including over 50 effect algorithms from the TimeFactor (Delay), ModFactor (Modulation), PitchFactor (Tone Shift), and Space (Reverb) pedals.

Limited Editions

The limited edition Blue and limited edition Dark versions of the H9 Max Harmonizer are both currently available for only $454/€498 *each. This is a huge saving at around 40% off * their original price point and makes these a real bargain.

One Button

The simple-to-use one-button user interface allows easy effect editing and preset selection. The H9 Max celebrates the release of the 52nd effect algorithm. This enhanced version comes complete with all of the 52 effects available, including the brand-new TriceraChorus. This TriceraChorus algorithm takes its inspiration from choruses used in the studio and on stage.

Plus, they feature extensive MIDI control and tap tempo control. Then you get access to 99 Presets, plus over 500 presets are also available via the free H9 Control app.

The Deal

As usual, this deal is based on limited stock so be sure to grab either the H9 Max Blue *or the H9 Max Dark * before stock runs out.

Eventide H9 Max Blue Harmonizer

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Eventide H9 Max Dark Harmonizer

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Ambient is more popular than ever but it can be hard to make a living at it. Six professional ambient artists give advice on how you can do it too.

Ambient Music

The world is a stressful place. Since the pandemic a few years back, ambient music has become more popular than ever. Listening to a well-created ambient track can relax you, lower blood pressure and help you forget the hellscape outside your door.

There may be more need for ambient music than ever before but actually making a living by composing it remains an elusive thing. Streaming sites such as Spotify offer the most direct way to reach audiences but actually getting paid by Spotify can be difficult. Difficult – but not impossible. I spoke to six different artists from the ambient community to find out how they use Spotify and what other kinds of revenue streams they’re paddling in.

Interviews have been edited for clarity and brevity.

Michiru Aoyama

Japanese musician Michiru Aoyama has been getting a lot of press lately. He claims to earn $3000 a month from his music, the bulk of which comes from streaming on Spotify. His secret? He releases a new album every day!

Gearnews: For someone who wants to make money with ambient music by using streaming sites like Spotify, what is the most important thing to consider?

Michiru Aoyama: The most important thing is to write a song every day. There should be no sense of effort or obligation. Just follow your heart and make music.

“…I prefer to make music like taking snapshots.”

GN: Is song length important?

MA: In ambient music, songs often tend to be long. This is because it is a genre that immerses you in a sound world. However, I prefer to make music like taking snapshots. I prefer to express the small things that I notice and enjoy in my daily life.

GN: Is it important to release new music regularly? If so, how often?

MA: It is important to release (music) on a regular basis. Daily contact with your (audience) builds relationships. Releasing once a year inevitably creates a distance between you and your listeners. I want them to hear my music every day so that it blends in with the air.

GN: Are playlists important for making money?

MA: Most of my playback volume comes from there.

GN: How do you get onto playlists?

MA: The only thing I have done is to create (music) every day and deliver it wholeheartedly to the Spotify playlist editor.

The system of posting songs to the editor has changed since August 2023, I think. I used to post every day but now I have to wait several months before I can post. I am very disappointed.

GN: What gear do you use when you make ambient music?

MA: The equipment I use is based on musicians I respect, for example, Fennesz and Chihei Hatakeyama. My outboard gear is API 2500 and 8200a, Manley EQ, Neve Portico.

The audio interface is RME. As sound sources, I use PRS McCarty and Sequential Prophet-5. The DAW I use is Studio One. As for plug-ins, I often use Ozone, FabFilter, and Max/MSP.

Sequential Prophet 5

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DF Tram

DF Tram is an ambient artist and DJ based in Zagreb, Croatia. He favours a sprawling sound heavy on sound design and has a forthcoming album on Alex Patterson’s Orbscure record label.

Gearnews: For someone who wants to make money with ambient music by using streaming sites like Spotify, what is the most important thing to consider?

DF Tram: It is difficult to make money on streaming sites like Spotify unless you have millions and millions of streams. It’s important to diversify and have multiple income streams – no pun intended. I feel that Spotify doesn’t pay artists fairly. My latest ambient release is going to be available exclusively on Bandcamp.

GN: Is song length important?

DF: I don’t think so unless you are aiming more toward the wellness/meditation crowd. I think people have gotten used to hearing ambient music because of its use in commercials and entertainment, so if you have an idea for a longer track, go for it.

“I release music quite often under different aliases…”

GN: Is it important to release new music regularly? If so, how often?

DF: I release music quite often under different aliases, more out of a drive to let feelings and emotions out. Releasing music is therapy for me and hopefully for others too. I think if you can release a couple albums a year, that is pretty good.

GN: Are playlists important for making money?

DF: If you are trying to make money on Spotify, it’s important to make it onto Spotify playlists. It’s one of the best ways to get discovered.

That said, most of the ambient artists I know aren’t getting millions of streams on there and don’t like the Spotify business model. I have not quite figured out how to get on these playlists.

GN: What gear do you use when you make ambient music?

DF: I use a combination of acoustic instruments, hardware, and software synths. Things such as singing bowls, melodicas, harmonicas, and microphones for field recordings can all find their way into my music.

I also have a few synths, with my favourite being the Moog Little Phatty. I use it a lot for trippy effects and bass sounds.

Thomann Tibetan Singing Bowl No12, 1kg

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Thomann Melodica MKII

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Moog Subsequent 37

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Hollie Kenniff

Hollie Kenniff is a rising star in the ambient firmament. Her music is highly melodic and song-focused, with a heavy dose of emotion and atmosphere.

Gearnews: For someone who wants to make money with ambient music by using streaming sites like Spotify, what is the most important thing to consider?

Hollie Kenniff: First off, I think a lot of it has to do with luck. Sometimes things will get playlisted and boost streams and sometimes they won’t and it’s difficult to know what will hit.

In general, it’s a carrot-on-the-stick scenario where chasing the algorithm is going to lead to a certain amount of frustration. The best thing I would advise is to try and be honest about what you’re trying to achieve.

“try to be honest about what you’re trying to achieve.”

GN: Is song length important?

HK: It depends. Generally speaking, the 2-4 minute mark is where I like to stay. I think anything under tends to limit the ability to develop ideas and pull someone in and anything over tends to overstay its welcome. In regard to the algorithm, something that won’t take up too much space in a playlist is preferable.

GN: Is it important to release new music regularly? If so, how often?

HK: Generally, yes. Nowadays it’s important to keep things fresh in the listeners’ minds. Algorithmically, I think that this is favourable as well. The more that’s released, the better chance of getting on playlists or popping up in someone’s new releases sections.

GN: Are playlists important for making money? If so, how do you get onto playlists?

HK: This, I’m afraid, is somewhat of an unanswerable question. There’s really no formula to get playlisted. Yes, playlists can be important for making money, they help boost streams and put one’s music in front of an audience.

The radio function, on Spotify for instance, or autoplay for recommended artists, is also an important function, where your music can get pushed. But there’s no magic answer to this.

“Everyone has an inner voice…”

GN: Do you have any other tips for making a go of it as a professional ambient musician?

HK: Set realistic goals. Ambient music is having a moment right now but this sort of thing ebbs and flows. Try and make your music special.

Everyone has an inner voice and trying to understand that and being willing to be vulnerable will help the human connection to make people want to join you on your journey.

GN: What gear do you use when you make ambient music?

HK: I use a lot of things inside the box, so largely manipulating textures in the DAW (Studio One). I use guitar loops/pedals a lot.

My pedalboard is pretty simple, just an Eventide Space Reverb, Fairfield Circuitry Shallow Water, a Ditto Looper pedal, and an expression pedal. My husband (Helios, Goldmund) and I have a Yamaha U3 upright piano, which gets a lot of use, and a Moog Grandmother.

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Ian Boddy

Ian Boddy is something of a legend in the ambient community, having ploughed his particular field of modular-heavy electronic music for decades now. He also runs the independent record label, DiN.

Gearnews: For someone who wants to make money with ambient music by using streaming sites like Spotify, what is the most important thing to consider?

Ian Boddy: In my opinion, any independent artist should have more than one iron in the fire. I have several musical income streams:

1. The DiN label selling CDs/vinyl/digital. It’s a combination of Bandcamp plus several selected distributors. Income from streaming is only a small part of this.
2. Library music. Over the years I have composed about 600 tracks which bring in a steady amount of income.
3. Sound design. I have done many sample libraries over the years as well as patch banks for various soft synths. This income can be a mix of commissions and royalties.

GN: What gear do you use when you make ambient music?

IB: I’ve designed two Eurorack modules in conjunction with AJH Synth, the Triple Cross and Chance Delay. This was a new venture for me where I came up with the concept and panel layout and they did the electronics.

It is of course another revenue stream but they provide ways of working in modular that are important to me, namely multi-input cross fading with the Triple Cross and randomisation with the Chance Delay.

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AJH Synth Multi Burst Envelopes

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Aleksi Perälä

Aleksi Perälä is a true maverick. He’s also incredibly prolific, releasing long albums of ambient and electronic music roughly every two weeks.

Gearnews: For someone who wants to make money with ambient music by using streaming sites like Spotify, what is the most important thing to consider?

Aleksi Perälä: Spotify is not fair for artists.

GN: Is song length important?

AP: No.

GN: Is it important to release new music regularly? If so, how often?

AP: When it happens, it’s like magic.

GN: Are playlists important for making money?

AP: I don’t understand. Making money is not important.

GN: What gear do you use when you make ambient music?

AP: It doesn’t matter! May the auspicious happen.

Ambient Music: Diversify For Success

After hearing about Michiru Aoyama’s success with Spotify, I was really hoping that this might turn out to be a valid new way to generate income as an ambient musician. However, after speaking with all of the different artists here, I can only come to the conclusion that his is a unique case.

Kim Cascone, longtime ambient and experimental musician and label head of Silent Records (full disclosure: I record for Silent Records), told me: “You need a two-tiered approach. You need Spotify and streaming platforms and you need downloads like Bandcamp. And on top of that Spotify doesn’t pay out unless you break a thousand streams.”

Kim’s last point is especially important. As of this year (2024), Spotify is changing its payout policy, limiting payments only to those with more than 1000 streams.

One way to make sure that you get those 1000 streams is by getting onto playlists, as some artists have said. However, to achieve this you should make the music that you want to make, not the music that you think the algorithm wants.

“Having something to say rather than just writing pretty or relaxing music will go much further than simply getting playlisted,” advised Hollie. “You want to connect with people, not the algorithm.”

There’s no magic formula for getting rich with music these days. But then again, has there ever been?

More Information

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Behringer takes on the classic Grampian analogue reverb in the Spring Reverberation 636, but is the size and shape too huge for Eurorack?

Spring Reverberation 636

Back in the day, reverbs took up quite a bit of space. The very fact that you have to shake a physical spring to generate the reverberation meant that these units were big. Digital technology, of course, sorted that all out and made reverb and other effects far more compact and convenient.

But something like the Spring Reverberation 636 is not meant to be convenient. It’s meant to impose itself onto your desk and demand to be used.

So, what do we have? Well, the original 636 contained a nice big reverb tank consisting of a pair of suspended springs connected to electromagnetic transducers to simulate the effect of a live hall. It had a reverb time of more than 2 seconds. There were two independent inputs: one for low-impedance sources such as microphones, the other for higher-impedance signals such as guitar and preamps.

The microphone preamp consists of a DC feedback pair with the input transistor biased for low-noise operation. It’s supposed to be driven hard in order to get the best out of the mechanicals and the signal-to-noise ratio. There’s an overload indicator light to let you know when you are hitting those limits.

Behringer says they’ve replicated it perfectly and so we can assume it has all the same sort of stuff going on. On the front panel, you get gain controls for the mic and aux channel, plus a mix control over the reverb. The preamp has become renowned for its saturation and that alone makes this a useful box.

Eurorack friendly

Behringer has added a bunch of Eurorack connections along the top of the front panel for easy patching. That’s certainly useful, but in Eurorack terms, the Behringer 636 is ridiculously wide.

There are plenty of spring reverb modules available for Eurorack, and all of them place the reverb tank outside the rack to save space. I don’t think many people are going to be dropping this thing into their modular case.

However, the presence of the connections does make it easier to plug-in from your modular, but I don’t think Behringer needed to build it into a Eurorack format case. All the same connections can be found on the back of the unit as 1/4″ jacks, so you can use it as a desktop effects unit.

Springs and space

Judging from the demo video, the 636 sounds rather fabulous. It is instantly recognisable and full of character. You start to think about reverb differently simply because it’s sitting there front and centre.

It looks a little bit strange from our modern perspective of digital effects and miniaturisation. But it really does feed into the analogue aesthetic that we all seem to love without question.

Pricing and availability:

The 636 is now available for order from Thomann.

Behringer Spring Reverberation 636

Available for $181 at

• Behringer website.
• More from Behringer.

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