In Japan you would be hard pressed to find a studio that doesn’t have at least one Sony MU-R201 in their racks even today, many have two. Yuji Sugiyama is a very famous Japanese engineer, and he is a big fan of the Sony MU-R201, and an engineer who has worked with numerous artists such as Soft Ballet, X Japan, and Luna Sea.
Yuji has used the Sony MU-R201 in both recording and live situations to great effect. And then of course, there is the controversial (debatable) use of the Sony MU-R201 by Roger Nichols on Steely Dan mixes.
It is difficult to pinpoint exactly what it is about this unit that makes it so good, but it sits in a mix really well and is very well made, in particular the ultra-rare remote control with its solid steel casing is very solidly built. Some of the stereo reverb patches are of particular interest as they are very good indeed.
Effect Types Available
- Hall
- Room
- Plate
- Gate Reverb
- Delay
- Flash Panning
- Dual Reverb
- Reverb & Gate
- Reverb & Delay
The Sony MU-R201 features fully stereo circuits from input to output, powered by a newly developed 2-channel audio processing LSI (Digital Presence Synthesiser CXD1079). This advanced system creates stereo effects that surpass what is possible with two monophonic reverberators, delivering high-quality, striking reverberation.
The device comes with 100 versatile presets, chosen with input from musicians, recording engineers, and sound technicians worldwide. These presets are stored in memory, allowing the user to select a setting for any application instantly.
For creative effect shaping, the EDIT and EQ functions enable modification of preset reverberation effects and the creation of original settings. In addition to the 100 factory presets, the unit provides user memory for another 100 settings, unlocking virtually unlimited creative possibilities.
The Sony MU-R201 offers a wide variety of reverberation types, including 10 basic modes complemented by effects like hall ambience, acoustically “live” room effects, controlled plate reverberation, percussive multi-gate reverb, and multi-reverse reverb. Its dual multi-delay setting allows up to 20 repeat outputs per channel, while reverb and gate effects further expand its versatility.
Memory selection and adjustments are straightforward, ensuring easy operation even during live performances. Certain modes allow the device to serve as two independent reverberator units, enabling separate processing for different instruments during recording or performances.
With up to 26 adjustable parameters, users can precisely define sound characteristics, creating unique effects not typically possible in natural environments. A programmable two-channel, four-band equaliser (LOW, L-MID, H-MID, HIGH) provides further sound-shaping control, with equaliser data stored alongside effects settings for instant recall.
An optional remote-control unit (Sony MU-RM1) allows convenient operation from a distance, while a foot switch (FS-11) can control memory changes, effect toggling, and effect suspension. The flexible input/output configuration supports standard phone plugs or RCA-type phono plugs, with a +4/-20 dB level selector ensuring compatibility with professional or consumer equipment and musical instruments.
The integrated MIDI interface supports program change signals for external memory selection during performances, as well as effect level control via key-touch and control change signals. This makes the unit an ideal effects processor for digital instruments.
Digital signal processing with the Sony MU-R201 goes beyond the capabilities of two monaural reverberator units, preserving the width and depth of the stereo sound stage. Stereo inputs, processing, and outputs ensure natural reverb by simulating real-world early reflections and reverberant sound fields.
Using a two-channel digital audio signal processing LSI and advanced stereo algorithms, the Sony MU-R201 delivers high-quality, natural reverberation. Specialised algorithms for delay, gate reverb, and auto-panning effects enable the creation of a wide array of impressive and distinctive effects. These algorithms underpin the ten effect modes, which, when paired with the right parameters, provide a wealth of creative possibilities.
