Eventide SP 2016

Eventide SP 2016 Signal Processor Reverb

The Eventide SP 2016 Effects Processor Reverb is something special. If you’ve never worked with one before, your ears are in for a pleasant surprise. What makes the Eventide SP 2016 so unusual is that (unlike most products in this specialised age) it isn’t just one thing. Not simply a reverb or a digital delay, or an equaliser…but all of these things, and more.

Eventide SP 2016 Signal Processor Reverb Details

We call the Eventide SP 2016 a digital EFFECTS PROCESSOR REVERB because that’s precisely what it is, a black box with a whopping huge capacity for ‘number crunching’ built into it.

The Eventide SP 2016 takes your analogue audio signal, converts the signal into digital information, processes it, and finally sends the data back out as a (considerably) enhanced audio signal. As for just what that computing does…Well, that’s up to you.

We’ve programmed in a wide variety of useful functions – delays, reverbs, digital filtering and EQ, gain control, chorusing, flanging, signal analysis, even self-diagnostic tests and synthesis – and left plenty of memory space for you to create and store your own variations, for instant recall when needed.

Our goal in designing the Eventide SP 2016 was to provide you with the most powerful, most flexible, most expandable nineteen inches of audio magic you’re ever packed into your rack.

The birth of the Plug-in!
In 1981 Eventide gave birth to the ‘plug-in’ by way of ROM Chips that ‘plug-in’ to a socket within the SP2016 reverb, to provide new reverb algorithms. In total there were 11 ROM chip sockets onboard for expansion. An ex-Eventide employee started a company called First Order Effects to offer new ROM chips for the SP2016.

Specifications

  • Quantisation: 16-bit
  • Sampling Frequency: 40kHz
  • Frequency Response: 20Hz-16kHz
  • Dynamic Range: Unknown
  • THD: Unknown

TRY OUR ‘MY EFFECTS RACK’ FEATURE TO TRACK WHAT YOU HAVE IN YOUR EFFECTS RACK NOW, AND THOSE ITEMS YOU WISH TO ADD.

The details provided above are drawn from historical documents like advertising brochures or user manuals. They’re shared without bias or review. This info is given solely for your consideration, helping you gauge its usefulness to you.

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Alternatives

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The absence of information doesn’t necessarily mean it hasn’t been used on classic tracks or albums; it just means we don’t have the details.

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