TELEFUNKEN ECHOMIXER

This is a collector’s item: a vintage German Telefunken Echomixer in mint condition, totally-original and boxed.

A testament to early sixties German engineering and build quality: all-discrete components and a great sound.

Channel A is for unprocessed signals, Channels B & C pass through the spring reverb.

It’s a very clean-sounding unit, and a great spring reverb sound – but overloading the inputs is also a good creative option.

It is in mint cosmetic condition and is sold as seen – we’ve not changed the plugs or touched it so have not been able to test, but we have no reason to suspect it won’t work.

It has DIN sockets on the inputs – we can provide DIN-jack cables if required for £18 each – the output is on a short trailing DIN lead. We also have another immaculate unit that has been converted to 1/4″ jack sockets – get in touch if interested.

The photo of the underside shows the two sliders that secure the spring for transport. Please note that this is a very sensitive spring unit and will need to be positioned away from vibrations and knocks.

As it is an EU 240v model, it will require a step-up transformer for use in countries with 100-110v mains supplies.

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 they sound great with guitars – but we’ve found they shine as a studio effect with whatever you put through them: keys, synths, vocals, loops, beats…  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.