Product Description
Modified Pioneer SR-202W Reverb Unit for sale.
Studio-ready, modified unit:
(Note that some crackle may happen when adjusting the pots if it's not been in regular use, but it's currently fine.)
More Pioneer Info:
As the original Pioneer advert (see in the product photos) says: the SR202W is "a solid state reverberation amplifier that adds natural depth, extra brilliance and sound realism to all stereo tapes and sound recordings."
If you want more information on which spring is best for you then check out our detailed spring reverb blog and "Springathon" demo (13 springs head-to-head). You can also see our full current stock of vintage studio signal processors here, but if you have any questions please get in touch as we have many years experience with these machines.
Tom Elmhirst interviewed about mixing Rolling In The Deep by Adele (Sound On Sound, Sept 2011): "...the Pioneer on 55‑56 is an old ‘70s‑’80s spring reverb that was made for the domestic market." ...and on mixing Mark Ronson's Record Collection album (Electronic Musician Sept 2010): “I used a lot of external reverbs: a Fairchild 670, old spring reverbs, and a couple 1970s Pioneer Reverberation Amplifier Model SR-202s. They’re old home hi-fi units; they’re not normal! I am not a fan of digital reverb, so I have a few springs I really like... Spring reverb was a big part of the Winehouse record, and it’s in Mark’s sound as well. I use two or three different springs on a track and even on the vocal."
This unit has a darker sound that can work wonders in a mix. 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, the sound of springs is everywhere.
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.
Studio-ready, modified unit:
- Input and output on the rear converted to 1/4" jack.
- Re-capped & transistors replaced for quieter operation and more gain on reverb.
- Knobs on the front disabled except for power and reverb adjustment.
(Note that some crackle may happen when adjusting the pots if it's not been in regular use, but it's currently fine.)
More Pioneer Info:
As the original Pioneer advert (see in the product photos) says: the SR202W is "a solid state reverberation amplifier that adds natural depth, extra brilliance and sound realism to all stereo tapes and sound recordings."
If you want more information on which spring is best for you then check out our detailed spring reverb blog and "Springathon" demo (13 springs head-to-head). You can also see our full current stock of vintage studio signal processors here, but if you have any questions please get in touch as we have many years experience with these machines.
Tom Elmhirst interviewed about mixing Rolling In The Deep by Adele (Sound On Sound, Sept 2011): "...the Pioneer on 55‑56 is an old ‘70s‑’80s spring reverb that was made for the domestic market." ...and on mixing Mark Ronson's Record Collection album (Electronic Musician Sept 2010): “I used a lot of external reverbs: a Fairchild 670, old spring reverbs, and a couple 1970s Pioneer Reverberation Amplifier Model SR-202s. They’re old home hi-fi units; they’re not normal! I am not a fan of digital reverb, so I have a few springs I really like... Spring reverb was a big part of the Winehouse record, and it’s in Mark’s sound as well. I use two or three different springs on a track and even on the vocal."
This unit has a darker sound that can work wonders in a mix. 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, the sound of springs is everywhere.
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.