60s spring reverb unit with all-discrete components, germanium transistors and a great sound from the Gibbs tank. Rapidly...
60s spring reverb unit with all-discrete components, germanium transistors and a great sound from the Gibbs tank.
Rapidly becoming a modern mix classic: a Telefunken Echomixer for sale serviced and modified – ready to put to work in the studio. A testament to early sixties German engineering and build quality.
Channel A is for unprocessed signals, Channels B & C pass through the spring reverb.
Modified for ease of use: ¼” jack sockets for inputs; output on a ¼” jack trailing lead; ‘Wet Only’ switch for auxiliary send use.
It’s can be very clean-sounding unit but overloading the inputs can work wonders.
Sought-after by award-winning producers, engineers and artists.
For sale in excellent cosmetic condition and working order for a 50 year-old unit. Has just a few minor signs of age including some minor scratches to the face. See photos for more info on cosmetic condition.
This unit has been serviced and earthed for electrical safety and sounds fabulous: these units have a particularly smooth unspring-like sound when used lightly.
Please note that this is a very sensitive spring unit and will need to be positioned away from vibrations and knocks.
Spring reverbs are a great ‘secret weapon’ to have in the studio arsenal – not just for the ‘boingy’ effect as used by dub and reggae pioneers such as Lee ‘Scratch’ Perry, but also for adding that unmistakable classic shimmery vibe to electric guitars. It’s a sound that lends itself well to modern production: the perfect treatment for overly-sterile digital delays and reverbs and it can be heard all over today’s music. Whether it’s cutting-edge dubstep from Rusko, or a top pop mix engineer like Tom Elmhirst (who used vintage spring reverb all over the last Adele album), the sound of springs is everywhere right now (check Alabama Shakes’ album, Boys & Girls).
Of course it sounds great with guitars – but we’ve found it really shines as a studio effect with whatever you put through it: keys, synths, vocals, loops, beats… it has a character that is very had to replicate digitally and sounds great in the mix – almost plate-like (and of course you can always give it a little kick if things are getting too polite during the mix…).
Try using a little tape delay before sending to a spring reverb, or use a digital/plug-in reverb and send the wet output from that to the spring to add character.
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