Sony

Sony established itself as a powerhouse in professional audio with groundbreaking digital recorders and studio effects that set new industry standards. Their DASH recorders, like the Sony PCM-3324 and Sony PCM-3348, became essential tools in major studios during the 1980s and 90s, renowned for pristine sound quality and unmatched reliability. Simultaneously, Sony’s entry into digital effects with units like the DRE-2000 reverb and DPS series cemented their reputation for innovation, offering versatile reverb, delay, modulation, and filtering options that became go-to choices for both studios and broadcasters. Sony also developed digital audio processors, such as the PCM-1630, to facilitate CD mastering, as well as DSD-based recorders designed specifically for high-resolution audio mastering. Sony’s expertise culminated in the Sony DPS-V77, a “best of Sony” effects processor, and the Sony DRE-S777, an advanced convolution reverb that captured real-world spaces with astonishing realism. Together, Sony’s recorders and effects processors became synonymous with high-quality, professional-grade audio, shaping the sound of a generation and leaving a lasting legacy in recording technology.

Released in 1977
The Sony PCM-1, launched in September 1977, was Sony’s first consumer PCM processor, setting the standard for digital audio devices despite its high price of 480,000 yen and limited sales of around 300 units worldwide.
Released in 1978
The Sony PCM-1600 was the first commercially available professional 16-bit digital audio processor for two channel mastering with the first machines delivered in April of 1978.
Released in 1980
The genuine advantage of the Sony PCM-1610 digital audio processor is its enormous potential to deliver drastically improved sound. Whereas analogue recorders are saddled with performance limitations of one form or another, unlimited quality improvement is possible using digital technology.
Released in 1980
The Sony PCM-10 Digital Audio Processor is a rather elusive piece of audio technology.
Released in 1980
The Sony PCM-100 Digital Audio Converter is a rather elusive piece of audio technology.
Released in 1981
The Sony DRE 2000 was Sony’s first digital reverb and they headed straight for the heart of Lexicon with a complex and very advanced system, that also proved fragile. These reverbs are hard to find on the used market, partly because those who have them hang onto them, and partly because many of them have died, proving to be too expensive and difficult to fix.
Released in 1981
The Sony PCM-F1 is a groundbreaking digital audio processor that delivers superior sound quality, versatility, and portability, setting new standards in the digital recording industry.
Released in 1982
The Sony PCM-3324 stationary-head 24-channel digital audio recorder, when used with the optional RM-3310 synchroniser/auto locator/remote control, offers an ideal combination of digital performance and convenience, in addition to all the prime functions of analogue recorders.
Released in 1985
The Sony PCM-1630 was used for mastering audio CDs in the mid 1980s and onwards, by most of the major record labels around the world. It was an essential part of early digital audio disc production and was responsible for hundreds of classic albums being put to CD.
Released in 1986
The Sony MU-E311 was part of Sony’s complete range of professional audio products, matching the aesthetic, sound quality and build quality of the Sony MU-R201 stereo digital reverb.
Released in 1986
The Sony MU-R201 was released following the comparatively high-priced Sony DRE-2000 and marked Sony’s initial foray into stereo processing for their reverbs. Although it gained limited traction in the western market, it achieved popularity in Japan. Despite this, Roger Nichols was an ardent proponent of the MU-R201 and employed it extensively in his mixing, including some of the Steely Dan mixes.
Released in 1987
The Sony DTC-1000ES Digital Audio Tape Deck was the world’s first DAT machine, and although it was a consumer machine, it proved to be very successful in the professional world too, perhaps even more so as DAT never really made it in the consumer world.
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