Yamaha Pro R3 Digital Reverberator
| Start Price |
USD 224.99 |
| Current Price |
USD 224.99 |
| Time Left |
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| Bid Count |
1 |
| Buy It Now Price |
USD 324.99 |
| Reserve Price |
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| Start Time |
Wednesday, September 03, 2008 |
| End Time |
Monday, September 08, 2008 |
| Location |
Lancaster, PA |
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Description
This is a Yamaha Pro r3 Digital Reverberator, it has been sitting in a rack for a couple years, and has never been used on tour. The Following article came from http://www.soundonsound.com/sos/1996_articles/apr96/yamahapror3.html The 2U Pro R3 is predominantly a true stereo reverb processor, but like most modern reverb units, it also generates additional effects. While it doesn't purport to be a multi-effects unit, it's still possible in many cases to combine reverb with further effects processing, as well as additional dynamic processing. Featuring 90 user memories and 90 factory presets, the Pro R3 is really three stages of signal processing in one. Before entering the reverb processor, the input signal passes through a 3-band sweep equaliser, which the manual sloppily refers to as parametric (unlike the post-reverb EQ, which really is parametric). This comes after the input metering, so you have to take care not to overload the next stage by applying too much boost. Next in the signal path is the primary effects processor, which is responsible for generating the reverb/effects algorithms. There are 10 effect options available, including early reflections, room simulation, and various combinations of 'reverb plus one' modulation effects. Following on from the primary effects block is a further processing section capable of providing dynamic filtering, EQ, compression, gating, panning and balancing, and these may be used in any patch, regardless of the primary effect chosen. Usefully, the inputs and outputs to the Pro R3 are available on both balanced XLRs and quarter-inch jacks, with an option to switch the operating levels from -10dBV to +4dBu. Various input modes are provided, including true stereo and dual mono-in, stereo-out effects processing. There's also full MIDI support, ranging from basic MIDI patch changing to the SysEx dumping and reloading of patch data. QUICK TOUR The front panel of the Pro R3 is divided into several distinct areas, with the EQ knobs and EQ Bypass button directly beneath the metering section. In common with earlier Yamaha reverb units, the display comprises an LCD window plus a 2-digit, 7-segment LED display which shows the currently-selected program number. The LCD shows the patch name, but also shows parameter data and messages during editing. A dual bargraph meter completes the metering section, while the input gain is set using a dual-concentric knob. Parameter navigation is accomplished via the usual combination of Inc/Dec keys and left-right cursor buttons, while eight discrete parameter buttons select the areas to be edited. A set of numeric keys provide direct access to programs if you don't fancy stepping through them one at a time, and these may also be used for the direct input of both positive and negative parameter values. Also included in this section are the Program, Store, Cancel and Recall/Enter buttons, but on the whole, anyone who has used a Yamaha SPX processor before should feel quite at home with the operating system. That leaves just a handful of buttons for Compare (where you see if your edits have made the patch better or worse); Utility, which gets you into the system parameters and MIDI setup, Bypass and Infinite. Switching Bypass replaces the effect/dry mix at the output with the original input sound. Infinite can be used to virtually freeze a reverb sound, by setting the reverb time parameter to maximum for as long as the button is held down. The decay time isn't actually infinite (I timed it!), but it is very long. The rear panel is, by comparison, very simple, with just the XLR and jack audio connectors, separate -10dB/+4dB level switches for the inputs and outputs, and a full set of MIDI In, Out and Thru sockets. OPERATION Everything about a patch can be programmed apart from the pre-EQ, which is strictly manual. Once the input level has been set, the easiest way to explore the unit is by cruising the presets to see what kind of variety it can offer. The presets are neatly compartmentalised into room, plate halls, effects and so on. There's a good balance between straight reverbs and reverbs, with a little trickery thrown in, such as extra flanging, chorus, delay or even pitch shift. The old Yamaha favourites are all there, including two versions of the richly swirling Symphonic reverb/chorus combination, and the inevitable 'special FX'. Indeed, most of the programs are conservative in nature, because of the limitations imposed by combining reverb with only one other time-domain effect at once. This only goes to underline the brief of this processor as a serious reverb engine. As you'd expect from a serious reverberator, you can edit the reverb parameters in great depth, but to make life easy for the operator, the editing parameters are divided into Main and Fine groups. The Main parameters are those that make the most difference to a patch -- things like reverb decay time, pre-delay, high and low frequency damping ratio and so on. These vary depending on which of the 10 effect combinations is chosen as a starting point, but the idea is to provide instant access to the handful of parameters that make the most difference. The Fine parameter section is where all the subtle stuff is kept, and in the case of Reverb, you have a choice of 13 more variables, including density, liveness, early reflection balance and reverb modulation -- which I guess is designed to be similar to Lexicon's Spin parameter. The Room simulation program has the most Main parameters, some 17 at the last count, and these include the room dimensions, a measure of the wall roughness, and of course the high and low frequency decay characteristics of the room. You can set the listener's position within the room, and the way in which the horizontal and vertical room reflections decay. In the Fine parameters section, you can even modulate the room size -- which roughly equates to the 'what I was drinking last night' variable.
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