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The RMX16 could be controlled remotely, too, with an optional keypad unit (no Lexicon–style faders, sadly), and a revolutionary barcode–scanning ‘wand’ was available to import new reverb algorithm data from sheets of printed barcodes. In the RMX16, it was employed to manage the internal reverb algorithms, load alternative algorithms, allow real–time display and adjustment of each algorithm parameter, and to store and recall 99 user parameter presets. We take microprocessor control for granted today, but in the early ’80s it was still quite a new and unfamiliar technology. This fine-looking pair occupy rack spaces in Henson Studios.
![valhalla vintage reverb vs ams rmx valhalla vintage reverb vs ams rmx](https://valhalladsp.com/wp-content/uploads/2014/11/VVV_1_5_0_Screenshot-500x298.png)
The now-classic RMX16 (bottom) was in effect a single-box version of this combination, and was hugely successful.
![valhalla vintage reverb vs ams rmx valhalla vintage reverb vs ams rmx](http://blog.dubspot.com/files/2017/01/Valhalla-VintageVerb.png)
With the addition of a separate board called the DMX 15R, AMS’s DMX 15-80S delay (centre) could produce digital reverb. The leading lights in the digital reverb arena in 1982 included EMT’s 245 and 250, Eventide’s SP2016, Lexicon’s 224, Sony’s DRE–2000 and Ursa Major’s SST–282 Space Station - many of which are still in use and revered today! However, although the AMS RMX16 faced pretty stiff competition, it did very well indeed, largely because of its very musical character and superb usability, not to mention its compact size relative to many of its peers. Its front panel was the same as that of the 15R, except for the addition of a pair of knobs to set the input and output levels, and the first edition of its Operating Instructions was still titled ‘RMX16/DMX15R’ too, since the two units’ operation and programs were identical. In essence, AMS re–engineered the 15–80/15R combo into a self–contained stand–alone product: the world’s first integrated, microprocessor–controlled digital reverberation unit. The DMX–15R was AMS’s first attempt, and it was an add–on 2U rackmount unit which bestowed the 15–80 with sophisticated programmable reverberation facilities.Īlthough immediately popular and immensely capable, the DMX15R expansion unit wasn’t particularly practical, and it was superseded just six months later, in March 1982, by the RMX16.
Valhalla vintage reverb vs ams rmx professional#
This product appeared in several variations over many years, each with increasingly enhanced capabilities, but of relevance here is the unique add–on expander AMS introduced for the 15–80 in September 1981 called the DMX15R.ĭigital delay units became extremely popular in the late ’70s and early ’80s, but digital reverb technology was very new and very expensive! Most commercial reverb systems at that time still used mechanical plates or springs, and only a few companies had developed high–quality professional digital reverberators.
![valhalla vintage reverb vs ams rmx valhalla vintage reverb vs ams rmx](https://samplestorrent.com/wp-content/uploads/2016/03/9fb05aade1a1.jpg)
The company really appeared on the industry’s radar when they launched their second product, the microprocessor–controlled DMX15–80 (15–bit) digital delay line, in 1978. This was at a time when digital audio processing was exciting and expensive cutting–edge technology. The manufacturers, more usually known as AMS back then (and AMS–Neve now), were set up in 1976 by former aerospace technicians Mark Crabtree and Stuart Nevison, who shared a passion for audio and expertise in digital electronics. UA’s emulation of the AMS digital reverb shows exactly why the original is still regarded as a classic.Īdvanced Music Systems’ RMX16 digital reverberation unit is most definitely one of the all–time classic audio processors.
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