Eventide or Lexicon?

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Needle201

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after accidentally putting this question into the recording forum, i wanna ask the question here again:

if you would have the choice, would you go after a Eventide H 3000 SE or a Lexicon PCM 70?
And why?
 
i would rather have the pcm-70 for reverbs and the h3000 for all the weird effects it is capable of.

If I had to choose only one of them to have; If I were ONLY going to be using more traditional effects (normal reverb, delay, chorus) I would probably choose the pcm-70. If I were going to be using it for more unusal effects but also traditional effects, then I would go for the h3000.


the h3000 is more versatile but the lexicon has some great reverbs.
 
If I really had the choice (I might get gunned for this one) I would go for the TC Reverb 4000, or even better the 6000. The TC has the most realistic room simulations I've ever heard and it has the most 'forgiving' algorithms in terms of problematic source material, especially everything synth or sampled.

The Lexicon is probably the warmest sounding reverb on organic sounds like vox, brass, guitar etc. The PCM is also easy to use and intuitive. One thing I've noticed, it tends to add some clangy colour to percussive sounds with short decay times which makes it often necessary to eq the fx return -something I personally hate doing cos' as soon as you change eq settings on the source material you start over on the return eq.

I had only one occasion to work with an H3000 in a mate's studio and I admit it was a nightmare for me. It took me almost a day to figure out how to tweak the parametres in a way that didn't make it sound like a trash can rolling down a hill. WITH the manual, that is. Call me dumb but in comparison, programming the PCM70 is a doddle. Once the Eventide is set up properly it's simply wonderful on vox with the harmoniser algorithms. That's all I used it for. Most of the delay and reverb algorithms were a bit too esoteric and 'studio-geeky' to my taste and the simple rooms and delays are nothing really special for THAT price.

ez&out
B#
 
okay, thank you, thats some pretty good info...
to sum it up:
Eventide: Weirdo Stuff
Lexicon: Reverbs, Delay, Chorus


one more thing....
i have the Lexicon LXP 5, and i am really astonished how rich and warm the reverb on that cheap unit sounds...does somebody have experience with the pcm 70s legendary reverb and the one on the LXP series? Is the PCM one really much better (something hard to believe for me, since i really like the one on the LXP already)....????
 
We have an LXP-15 and it's all right for most of our projects. I love it to the bone but only on non-percussive sounds.

As far as I know the PCM70 has a couple of native algorithms from the 480L, whereas the LXP series are sort of watered down versions of it. So there IS a noticeable difference. I only worked a few times with a PCM70. It is a wicked piece of gear but for our styles of music (which is cut mainly on vinyl) 'lower class' gear is good enough.

I can only suggest to borrow or rent a PCM for a day and check it out.

ez&out
B#
 
R2B - why is it that the lxp -15 doesnt sound good with percussive sounds? Is it clangy?

Im looking for an overall reverb for sampled drums and synths, guitars etc.
Any suggestions (within project studio Prices!) Something that gives that amazing airyness, you would hear on Santana, Steeley dan, Nitin Sawney. Where the reverb stays in place with the sound.

Cheers. T
 
I would say it all depends on what you need. If it is the reverb the battle would be between pcm 90 or tc electronic 6000. Depends what you like and what you are into. Personally I am a reverb freak and like that the most. But those crazy effects add a lot to those tracks. My freind has a tc electronic fireworx and we worked on a psy trance track and it was lovely.

Thier was this roland efx box out a while ago in rack form that sounded allright and now is only about 75 or 100 usd. Which would be alright for mutli effects on lower buget materials.

All really depends on what you need and are working on. For lucious, clean sounds, you need fat reverb. For I am losing my mind in some dirty jungle track meant for vinyl far more raw effects can be used. All depends on your production
 
Stan, the LXP15 apparently loses density (or some element which keeps the room natural sounding) with short decay times (<200ms) on percussive sounds. It becomes like a cascade of grainy reflections that sound more like digital delay than reverb. The clangy character can be somewhat corrected with eq but then things get very dry. It seems all right with larger rooms and longer reverbs but I like short decay times on drums for the styles of music I make. Personal preference, innit...

For percussive samples I actually use soft plugins, either the room simulator in Waves or even better (now I'll get gunned) real room impulses in Soundforge's acoustic mirror. A lot of people say it's rubbish cos' it's awkward but some of the impulses do have that posh sounding airyness. There are tons floating around on the www for free, even some from the 480L and the TC.

Actually most of the time I don't put any reverb at all on drums but use modulation fx or stacks of different snares/HH etc. panned across to give an illusion of small spaces.

ez
B#
 
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