Latest User Reviews

I don’t know why more people don’t know about this great reverb. I love it on snare, brass, vocals everything, it just works.

This is a hidden gem of old reverbs. I love this thing on just about anything and use it on every drum mix I do. Snares sound wonderful through it, so Roger Nichols was onto something way back when. Ignore the limited bandwidth as I actually think that is what helps this reverb to sit in a mix so well. My favourite!

Most of the reverbs, inclusive IR-Reverbs, makes good jobs, when you hear them alone. I my case I love the DN 780 for its unspectacular way it fixes my mixes. Its my analogest digital reverb. Yes, I replaced the fan, I replaced the bridge rectifier and the battery. Now my DN 780 works like new, without noise. I give 10 point to all, because it is in view of its age an absolut authentic representative of the sustainability engineering of these great 80s!

Owning several EMTs, Yamaha Rev1, AMS RMX16, Bricasti and Lexicon 300, I really have to admit that the Sony DRE2000 is the most incredible tool in my workshop. Throw it on snare drums, on analog modular synths, electric guitars, even on orchestra, it S-H-I-N-E-S ! That’s all – simply the most 3d “artificial flavoured” reverb out there, bar none, ever, period. things it cant do: giving dimension to upright bass, bass drum and hihat. anything else: rarely something greater than the Sony! sadly it is hard to service, sometimes impossible. anyone experienced in repairing those precious gems? mine starts to bother me sometimes with weird noises coming out of the DA converters at times…

Yes the previous reviewer is correct…the fans in these go bad…had to replace the one in mine. Some of the buttons were bad too, dirty and intermittent common in units this old. Sound wise I found it too flutterly 80s…not worth it for my tastes, nothing really magic in there. Yeah maybe the non lin is kinda cool, but how often do you have a use for non lin.

Editing was slow too, and not much variation available. The stock presets were useless like either way too bright or dark, no safe middle ground, or just plain weird too effecty unusable “show off” presets you’ll never use but sound impressive as overblown effects, like many units have, to sell them with the wow factor but you never use those.

The Klark Teknik DN 780 is often referred to as a poor man’s AMS RMX16, some suggest the algorithms are ported from the AMS, with the DN 780 being more affordable and albeit lower quality digital reverb when compared to the AMS. However it is a very good reverb in it’s own right and has one of the best Non Linear reverb presets of any reverb from this period in my view. You do have to be careful with the fan on the rear panel, because if it fails the power supply WILL overheat and blow. You are best served by paying a technician to replace it. Other than that, like all Klark Teknik gear it is a very solid unit that proves more than useful in a studio for mixing.

This is a nearly-forgotten relic of the late ’80s. I was amazingly lucky to buy a couple from a local distributor in the late ’80s when they were being discontinued. Got mine for only $300 (US), both floor models in perfect condition. This is among the best bargains I ever purchased in my many decades of music production. For vocal processing, it put much-more expensive vocoders to shame, and the noise floor is almost below perception, despite its 16 bit resolution. The build is amazing, but be careful with the plastic remote which is essentially vital to using the unit. If it gets smashed or lost, you’re out of luck.

Not really sure whether this is the right place for the DN-50 as it is a completely analogue spring reverb with two six-spring reverb tanks (which makes it “stereo”…). Oh, it sounds decent (less “boink!” than, say, a Furman oder Vesta-Fire unit of the same breed), effective tone control, and an overall rather pleasant, albeit not overly spectacular sound (and nowhere near as dense as an AKG BX-15 or 20, for that matter).

Nice to add some extra flavour to your mixes, or where some kind of “vintage-days-of-yore”-type of colouration is required. It does this job very well, I must admit. Its build quality is decent, with plenty of sheet-metal all around, which makes it a light-weight yet sturdy 19″ rackmount — not sure about shielding, though, since mine picks up an awful lot of transformer hum even when set up a good distance from all other sources of electro-magnetic radiation. Whether this is a design flaw or due to ageing components (or cabling used), I cannot tell.

Since a service manual seems to be made of unobtainium, its service situation seems slightly doubtful to me, although every capable tech can make something of the arrangement of various types of op-amps, resistors, and capacitors inside. There even is an option to add output transducers as an extra but since the production of the DN-50 ceased a long time ago, it seems unlikely these transducers are still available somewhere (or replacements are known).

If you can buy one cheap, you won’t be disappointed – but something tells me these things do not exactly come cheap due to their rarity and their “vintage” tag.

Underrated and forgotten late 80’s budget reverb, but still great for small rooms and adding ambience. Settings for plates and large halls sound best with a bit of HF damping and the (not too bright) delays fit nicely in a mix. The gated reverbs are adjustable for gates I used one in the 1980s in a small studio. The range of effects and quality were, on the whole, excellent. Long reverb times would expose the processor’s limitations, displaying a terrible fluttering which, at it the longest settings, made it little more than delay with high feedback.

The MIDI functionality made it superb for live vocal use with a sequencer: I programmed it to select a suitable effect for each song, then reduce the effect to zero at the end so that the mic was dry to talk to the audience. It was also simple to use MIDI CC live to automate FX level during a song, so that, for example, it would bring in a delay under specific vocal lines, which sounded spectacular back then. It was a lot of fun to use.ize and gate shape, which is endless fun for programming unusual effects and for fattening drums up! Grainy and lovely character, controllable via MIDI CC, with a bunch of algorithms you won´t find elsewhere. A very useful unit for me – and cheaper than a plug in!

Underrated and forgotten late 80´s budget reverb, but still great for small rooms and adding ambience. Settings for plates and large halls sound best with a bit of HF damping and the (not too bright) delays fit nicely in a mix. The gated reverbs are adjustable for gate size and gate shape, which is endless fun for programming unusual effects and for fattening drums up! Grainy and lovely character, controllable via MIDI CC, with a bunch of algorithms you won´t find elsewhere. A very useful unit for me – and cheaper than a plug in!

I stumbled on this affect processor and took a chance recently, I am blown away at the vibe this thing has. It is an early 2000s design but sounds fantastic and is extremely powerful. It just has a unique mojo to it, very pro in every way, highly recommend it if you want to sound Unique!