Quote:
Originally Posted by
psykostx
β‘οΈ
You already own a collection of much better Lexicon algorithms than the hardware you're looking at if I'm not mistaken. The Yamaha will offer you at the very least something different. I have a Yamaha Rev500 but I haven't used it yet. I got it for $100 or something and figured it can't be that bad if it has balanced connections considering when it was released.
Lower-end "Prosumer" gear rarely had balaned XLR connections at the time and it must have been somewhere around $500 new, at least, which was considerably far above the "Mickey Mouse" and "My First Sony" price tier up until around 2012; so I'm guessing it has to compete with some of the TC Electronics and Lexicon 1ru boxes of its time. And knowing Yamaha they loaded it up with everything they could as an inexpensive way to compete.
I'm actually going to integrate my new Vari-Mu into my drum chain tonight, so I'll probably test out the Rev500 as well. I'll let you know what it can do and if my playing is decent I'll post it for you.

I bought one new years ago when they were $350. It's built like a brick ****house and has XLR ins and outs as well as 1/4". Also an internal power supply. But I only used it as a stereo reverb for a few years and it got moved to a live rack. Like most Yamaha reverbs the sound is a bit "metallic"; not harsh per se but not syrupy smooth like a Lexicon.
If you want a cheap, single rack space F/X processor that is built like the Yamaha, I suggest the Lexicon MX-300. It's not gonna sound like a PCM but sounds way better than the REV 500.
It also has the four knob "quick edit" feature the REV 500 has but a much deeper interface. The really cool thing it does is "ducked delays" like the old TC stuff. I used a MX-300 live in a cover band and it was PERFECT for doing stuff like U2. The delay gets ducked until the end of a phrase (we used it on vocals) and then you get the full, lush delay. Let's you run long delay times without stomping on the vocal or guitar.
Not sure if the editor works on later versions of Windows but it was super slick and easy to use.
For the cover band I had set up a separate preset for every song, and named them with the song title. I usually had to run sound myself from the stage (while playing bass and doing backup vocals LOL) so I would just step on a footswitch for the next song.
The editor was great because whenever we changed the sets, I would just take it out of the rack, bring it home and reorder the presets to match the new set lists.
It also has S/pDIF digital I/O which can be handy in a studio situation (I think it only does 48 khz though).
I've got two of them, one in a small live rack as an only F/X processor, the other one in a larger live rack with a MPX-1 and the REV 500.
Analogeezer