Latest User Reviews

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.

I bought one a few years back. Sounded great for about 15 minutes then became intermittent and eventually died. Post mortem found faulty connections between the two PCBs. The connections were header pins going into IC sockets. Very bad design. Because of bad connection an IC died – it was too hot to touch. But ART removed all the labels on the ICs so no clue which IC it is. And the schematics are unobtanium. Besides that dodgy connection the thing is built like a tank. Can’t understand why they cheaped out on the PCB connection and will never understand the practice of removing labels from internal components. Shameful IMO. Yet I’m currently bidding on another one. It sounded that good. Very gritty but in a good way. Hopefully this one survives longer….

I owned the Avalon Design VT-747SP for about three years and loved it. (I have since sold most of my studio gear) The build quality on Avalon gear is just ridiculously good, and the design superb, nothing looks better in my view. The compressor is not really designed for hard core compression like a DBX 160 or the like, it is more of a subtle compressor in that regard.

The EQ section is what most people simply do not get their head around fully. The complaint you will hear over and over, is that the frequency bands are not marked to indicate the frequency each adjuster is affecting, but that is the whole point! It is a VERY musical EQ that is designed to be tweaked by ear (remember those things?) and to me at least gives excellent results.

If you are after older hardware that has some kind of magic mojo because it is not pure in the signal path, this is not for you. Sound coming out of the Avalon Design VT-747sp is almost as pristine as what goes in. It is a shame that after all these years Avalon have decided to stop producing it, I guess they got sick of trying to make people understand it’s design and purpose. If you can get one on the used market do so, it is a magic box in my eyes!

An equaliser should do nothing other than what is asked of it, and that is to alter the sonic qualities of the audio signal passing through it. It should not impart any character or alter the signal in any other way. The Avalon Design AD2055 does just that. Being a parametric equaliser, it is akin to a surgeons knife in it’s ability to fine tune a frequency to adjust. There is plenty of scope in the available controls to correct any signal you desire, and it will do so flawlessly and without altering the signal with any retro character or noise being added. Yes it is a damn expensive bit of kit but you truly do get what you pay for and the Avalon Design AD2055 is worth ever cent!

When I want delay, flange, even a short sample this is the machine I go for. It’s clean, a touch sweet sounding and has no nasty traits.

If you find one, get it.