Latest User Reviews

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.

The DBX 786 is one of the best sounding mic pres for ever. We have here in the studio Millennias HV3r and M2B (also beautiful), Forssell SMP2, AMS Neve 1073, DAV BG8 and some more. The DBX sits right next to the Millennia STT1, which is a little more versatile; but the DBX has a bigger and deeper soundstage. I absolutely love it. The spectrum EQ is aurally nice, but I like a good quality EQ like in the Millennia STT1 a bit better. Although If you know how to set the spectrum EQ it is amazing. Sometimes I even use it for mastering. I just gave the 50% for Mojo because even though it is a an older design from the 90-s it is ultra clean and transparent, yer musical. But it doesn‘t color the sound like a Neve. I just gave 95% on reliability because in this 13 years ofusing it I had two broken LEDs. Bit absolutely no real issue. Lately I bought a AD converter card. I can remember that this was very expensive. Today it really surprised ne, that it is on ar with our Prisms, RME ADI 2 pr fs and others. Pretty cool when considering that we are talking about an at least 25 years old design…

Very rare gear! The sound is unique.

I have two of these, worth every dime…

I bought one of these when they first came out and loved it. As a song writing tool I found it incredibly useful. For its time it sounded great, the effects were brilliant, and the ability to use it as a recorder, although limited was useful for getting ideas down etc.  I also used it for sequencing the keyboards for my band live and it never let me down on stage either.

This was released in the early days of digital delays and it was a dream come true at that time. It may not stand up to some later models but if you are looking for a delay with Mojo, then look no further.

These things are rare as these days, but if you get the opportunity to try one, or even better buy one, do so. It sounds amazing, even today.

When this thing first hit the market, it was like something out of Star Wars and it got a lot of attention for its looks alone, but it is the sound quality of this reverb that cemented it in the recording world. It may have been the first digital reverb to hit the market, but they got it right on first attempt, beautiful reverb.