Latest User Reviews

Picked this up as part of a package deal. Had heard some good things about it but had my doubts. After a couple years I find that it is quite the sleeper and I am using it more and more. This is a huge box, both physically and sonically. It has a few sweet spots that are really very sweet. The sound of its reverb is very liquid and flowing with some of the best gated verbs I have ever heard. The dual delay is very handy and can create some decent chorus and flanger effects. At longer delay and decay times the tails get very synthetic sounding which I find is very nice on synths but not so much for drums. Editing is dead easy and dual channel operation is very useful. A surprisingly decent little box if a tiny bit noisy. The buttons and controls could be better quality.

If you want compression and you want the listener to know compression is on then this is the machine for you.

If you are looking for a compressor that is not clean and pristine, and one that imparts a warm tone to the compressed signal, look no further. It deserves a place in your rack purely because it sounds warm and different to most modern compressors.

I have an old DRS78, it offers a lot of possibilities and I really love its sound.

Very open to creative use, and a nice characteristic tone to it.

Got it from a friend’s studio and use it in every mix, mainly as my main snare reverb. Have used it as a (vocal) hall reverb as well. Overall a very very affordable effect unit with great sound! Can’t recommend it enough.

This unity was my “secret” of a spectacular strings recording during many years and made me a engineer to go when a strings or a entire orchestra should be nice recorded. In that time (90s 2000s) I worked in a excellent big studio in São Paulo, Brasil, but the room was quite poor for a big ensemble. So I fed the signal from the ambient microphones to the unity using the first program you find when turn It on, the “reference” reverb.

This program come in 4.1s of release, so I always corrected it to 3.1 then I blended the return to the channels from mic ambience, just enough to create a rich room I had not in reality and recorded all the thing together, this way no one realized my secret to achieve that fantastic sound. Was stunning, that fucking unity fix better with strings than unitys far more expensive as L480 or TC3000/6000! I still with my own here but the strings recording was drop down to less than one in a year…

Also If someone need a rotor speaker there is in my opinion no one unity better than Dynacord DRP 15!

I had a white-face DRP-20 for many years, and even though I really loved its huge-sounding reverb ambiences (and I mean *huge*), I decided to part with it because its noise level was really annoying. There was a constant hiss, running reverb tails through an RSP Hush 2000 would help with shorter reverbs, long reverb tails would sooner or later start to flutter.

The build quality is quite good although I encountered problems with sticky keys and erratic enconcers — I am sure the Dynacord people would refurbish one for you if you are prepared to send it to them. Programming is easy and straightforward, combining various different types of delays and reverbs makes for some really rich sonic palette. Now if there weren’t that noise problem… the Cathedral algorithm run through a Dimension D was simply stunning, and I confess I really miss that.