Latest User Reviews

I have worked in various top-level positions within the Pro Audio industry, and apart from other functions within the industry, I had spent a great deal of time with “Flagship Audio Fx Units” The KSP8, above all, has a superbly beautiful sound or audio quality.

I’ve had mine for about 30 years. Always been a great unit. Had to replace the battery a couple of times in that time. Very versatile with MIDI and separate foot switch inputs to control. Easy to change and save parameters within a patch on the fly.

There are few products I would call perfect, but I think the Grace m905 is about as close as you can get. The sound quality is superb, and evey feature I wanted is there. The remote control is brilliant too, and the entire thing is enginneered so damn well. Bravo Grace!

As they say, you get what you pay for. When this guitar effects processor came out, it had to compete with Eleven Rack and Axe FX (neither of which are featured on Vintage Digital, which is very odd). Axe was in a higher price range, while Eleven Rack offered very simple routing options and a very conservative effects arsenal. POD HD, on the other hand, shone with its effects diversity and routing possibilities.

You could build very long effects chains, even including some crazy synth FX models (not available on Axe FX Ultra), if you wanted. Another great advantage was the Line 6 foot controller, which could be easily programmed to control the effects unit. You could even use it to send MIDI CCs to other MIDI-controllable devices using POD’s mediocre MIDI routing options. Unfortunately, the sound is just average.

A plain, flat, cold digital sound. Particularly noteworthy are the integrated reverb effects, which are simply terrible. My old Midiverb II from the 80s sounds significantly better. The rest is usable, but nothing really shines here. Sonically, the Eleven Rack is significantly better. Today I would recommend keeping it around as an FX unit to create some crazy effects like dynamic filters, synths and delays. Or as a two-channel sound card with onboard FX for recording purposes on the go.

It’s a decent FX unit even by today’s standards if you need that 80s somewhat dry and thin sound. I like using it on piano for the ‘piano room’ effect with lot of regen on delay, or for some weird chorus-phased FX.

Tips:  Remember that you can get long delay times only in certain configurations. It has decent output levels but the input can clip pretty easily. Beware of that and place a limiter before if needed. Cutting some highs and lows beforehand may help too. Google my midiverb3 editor on github or get another one (I think SoundQuest have one) — unlike some units this device can be programmed although not as deeply as Quadraverb

Probably The Most Iconic Sample Based Synth Ever Made (some may argue K2000 which is another very respectable choice, but I’d personally edge the ASR-10 for the effects and ease of sampling)

Very versatile machine adapted to digital HD (zuluscsi SD).

Not very versatile but it does what it does with sheer perfection, realistic hall reverb glory in a simple interface, what else do you need? If you ‘e ears were raised in the 80’s maybe some gated reverb settings.

Absolutely underrated machine, still running after more than 35 years, never had a service, incredible lush sounding reverb tails with a very unique and mellow character, a bit noisy, more versatile than my simple reverb hero EMT 244, my second most loved vintage reverb just behind the ubiquitous Lexicon 480!

este equipo por si so responde a avalicao

These units have become as rare as hens teeth over the years, and for good reason. Many of this short run of 224X were converted to XL models so the owners were able to use the new and improved LARC found on the 480L. This involved changing out the 25 pin port and EPROMs. Unfortunately, while many considered this an upgrade, that wasn’t really an improvement in sound quality.

If you are looking for the Vengelis Blade Runner/Antartica sound, the original 224 and 224X are what you are looking for. To my ears, the algos changed enough with the XL such that it doesn’t quite have the depth or width of the two earlier models. The 224X shines on ambient music and more classic tracks. It doesn’t have the flexibility of the 480 and 300 series, but those are very different machines.

I am fortunate to own all three versions (224,224X, and 224XL) as well as all of the other big Lexies and delays from that era, and I will most of the time be reaching the the X anytime the piece calls for the reverb character to be a featured part of the music.

I had the priveledge of using one of these for a short while, and I loved it. Sounded great, with that rich, fat analog sound. It is built like a tank too.