Product Description
We’ve landed a selection of Hawk spring reverbs over recent years, and the fine-looking HR-45 is a favourite. The first one here was promptly removed to the studio for ‘testing’ and still hasn’t been returned.
Sharing similar 70s HiFi aesthetics with the Hawk HE-2150 & HE-2250 tape echoes, the Hawk HR-45 is a stereo unit that offers input controls for mic in, and also mic/line echo input. Moving along is the four-way Mode selector switch with a choice between Normal, Reverse, Split and Mono reverb settings - Reverse sadly does not offer a backwards reverb, but switches the wet signal to the opposite channel. There’s a pair of quarter inch jack inputs on the front and rear as well as a bunch of connections on RCA phonos that show its hifi background.
It’s a very useful and good-sounding spring - whilst overall it has a more-appealing the sound than the Pioneer SR-202W, there is a strong argument for having more than one spring timbre at your disposal (this from someone who has over a dozen in the studio).
Where things get really interesting is how this unit reacts to being overdriven - pure magic when a guitar is plugged into the mic input, but also very usable with beats and synths. The flexibility offered by being able to just drive the dry or reverb signal, or a combination of the two makes this a very creative tool: the overdriven reverb sound from this unit is highly-addictive!
Sharing similar 70s HiFi aesthetics with the Hawk HE-2150 & HE-2250 tape echoes, the Hawk HR-45 is a stereo unit that offers input controls for mic in, and also mic/line echo input. Moving along is the four-way Mode selector switch with a choice between Normal, Reverse, Split and Mono reverb settings - Reverse sadly does not offer a backwards reverb, but switches the wet signal to the opposite channel. There’s a pair of quarter inch jack inputs on the front and rear as well as a bunch of connections on RCA phonos that show its hifi background.
It’s a very useful and good-sounding spring - whilst overall it has a more-appealing the sound than the Pioneer SR-202W, there is a strong argument for having more than one spring timbre at your disposal (this from someone who has over a dozen in the studio).
Where things get really interesting is how this unit reacts to being overdriven - pure magic when a guitar is plugged into the mic input, but also very usable with beats and synths. The flexibility offered by being able to just drive the dry or reverb signal, or a combination of the two makes this a very creative tool: the overdriven reverb sound from this unit is highly-addictive!