I got goosebumps at 5:05 when you turned that Pre-delay all the way up. That track was begging for those massive settings!! I hope someone noticed and put that into the final mix.
I love reverb machines so much that I've tried most every hardware reverb...except the RMX16. Thank you for this video, I now think this is a must-have.
It's not my collab. I was brought in to mix this song for a client a long time ago. Just using it here to show off the reverb. It's a great song and vocal delivery though.
Ever since "discovering" the 500 series in one of your videos, I've become rather enamoured by this form factor. It allows you to mix and match, build a system bit by bit, and save a lot of space. It wouldn't surprise me if it would become the dominant form factor over traditional 19" units.
Excellent video (as usual, I should say) Espen knows the 80s sound. Espen knows show how to make it Espen knows how to demonstrate the tools to make it.
Love the RMX16. I use the UAD plugin everyday. I want this 500 series one, but I’ve been waiting on a few empty 500 chassis kits to go up on the CAPI site here in the US as I’m out of slots. The nonlin on drums is my favorite 🔥🔥
I just love when you do videos like this showing is how a certain sound was made. Actually I got more of a Jimmy Jam - Terry Lewis vibe from the drum loop 😊 the Janet Jackson stuff they did back then, Alexander O'Neal on "Fake" and not to forget "Human" with The Human League.. Great stuff.. Thanks Mr. Kraft(werk). 😊
Wow would love to see the rest of the dry vocal processing!? Sounds so crisp and upfront. Wld love a dive in eq and compression. Reverb nostalgia all over the this for me
@@SeverityOne Which basically shows - once again - that vintage gear is way overpriced. ;-) The price for the 500 series version might be "okay" for what it does. Maybe there is some sort of affordable "convolution reverb" solution available somewhere?
@@sauermusicDE Regarding the software comment: don't get me wrong, I watch Espen for a reason. But like the 500 form factor is ideal to slowly build a system without immediately breaking the bank, so you can use software plugins to do audio processing. Nobody is stopping you from swapping out a software plugin for some real hardware either, although the question is how much this new RMX16 can be considered "real hardware", because from what I gather from this video, the analogue parts are modelled, too.
This is all done in software, and the UAD plugin that came before it sounds the same. Same code and everything. There is some debate though that the UAD sounds different and more off from the original hardware. I don't run any UAD systems so I can't compare that to this. I too agree that vintage gear is overpriced, by far. Musically vintage gear is not worth the prices it commands, but as always it's the market that decides. Gear is worth whatever someone wants to pay. ;-)
Sneaky Espen has that TCE 2290 in the background. I'd love to see a comparison of that vintage rack gear against the newer desktop controller plug-in. That would be something only Mr Kraft could bring the goods on.
I don't have the plugin, nor am I going to get it, but the real thing is brought in to help out with delays on my album currently being mixed. I will do some behind the scenes so I'm sure there will be more on the 2290 later. ;-)
Effects within format 500 is sadly not very common [yet], it could be interesting to see a comeback from Eventide or Lexicon on Format 500 instead of the current plugin-wave.
totally love mine...it's interesting to see UAD modelling the delay that goes with this, I wonder if that means AMS have a hardware version of that classic delay line in mind at some point in the future
@@subs4794 the RMX16 500 series started off life as a UAD plug in developed in tandem with AMS Neve as far as I know. AMS then developed this code into the 500 series rack so wondering if they might do the same for the delay line so you could have the original pairing
Ian (or Espen if he knows too), were you able to compare the 500 series against the UAD plugin and/or impulse responses (like the amazing Inhalt Townhouse collection)? I'm curious to know if this hardware is any better vs these, especially algorithms like Ambience or NonLin2. It's hard to tell in the video comparisons, how dramatic the true quality difference is, especially in regards to stereo imaging & fidelity, as RUclips doesn't do the best job encoding hifi audio in my opinion. Would love to hear your thoughts. Thanks!
The RMX16 sounds amazing. I especially liked how ethereal the Plate program became. But you buried the lead -- that's an awesome re-imagining of _In Too Deep!_ I wanna hear the whole thing now. 👍️
@@EspenKraft Thanks for the suggestion. But all the gear to connect the reverb to is on Santa's list. I need to wait for Santa first. Besides, I want new gear, not second hand, I want it to be midi 2.0 and it needs to come in a rack version. @myself: good luck, and dream on
@@jacquesmertens3369 Rack synths are essentially dead. The big three (Yamaha, Roland, Korg) stopped around 10 years ago with them, and only the Integra-7 is a current model - but for how long? Sure, you can buy some esoteric synths as a rack, or more often you can mount a desktop unit in a rack (the Modal synths, Deepmind, etc). But that's it. In my mind, the 1990s, more so than the 1980s, were the heyday of rack synths. This is the decade where digitalisation made it possible to put all those electronics into a small unit. Of the seven rack synths I have, only one is from the 1980s, and it currently doesn't work. (And I'm pretty sure that Espen doesn't have one, which is kinda funny. It's a Böhm Dynamic 12/24.) The style of composing (electronic) music has changed. Nowadays, it's simpler to put everything inside a computer. Maybe not as much fun, but "fun" doesn't pay the bills. I'll accept the argument that there are artistic considerations for using hardware - but not if those are rack units, because they're a total pain in the you-know-what to program. Keyboard synths, desktop units and software are much easier. So just get a bunch of 1990s rack synths. I got myself a Korg Wavestation SR, Jomox AirBase 99, E-Mu Morpheus (need to fix it), two E-Mu Proteus 2000, Walfdorf Micro Q, and the aforementioned Böhm Dyanmic. More sonic potential than I can hope to exploit in the foreseeable future.
@@SeverityOne You're absolutely right of course. What I want does not exist. We're also talking about a transition of the sound I really want (12-bit, such as the early DX7) via 16-bit (early 90's, e.g. Korg Wavestation SR) to 32-bit towards the end of the 90's (e.g. E-Mu Proteus 2000). I can currently pick up a E-Mu Proteus 2000 for around 200 EUR, but it doesn't produce the 80's sound I want. Also, unlike yourself, I have no clue about fixing electronics. I can replace capacitors or broken connectors, but that's about it. I suppose I need to go to heaven before I will find my synth heaven. In the meantime I'll just enjoy Espen's channel and others.
@@jacquesmertens3369 Espen has made a couple of great videos about how the sound of 12-bit samplers is really special. Bit depth doesn't make better music. And as for the Proteus 2000, I have two, and I very much doubt that they have 32-bit D/A converters (which is hopefully what we're talking about). The P2000 is very 1990s, but beware of the ROMs: they're hideously expensive. Unless you get a cloned one, which is still expensive, but not to the extent that asking prices for such ROMs like Beat Garden, Techno Synth Construction Yard and World Expedition are.
Not a lot of money for something that you want we spend 20 to $25 on lunch. I would rather pay for the year then send it to the IRS if you understand what I'm saying.
Wow love that song with the female vocalist and the 80’s drums. Those drums sound very Tears for fears like with that reverb. I notice you’re not using a lunchbox to power your 500 modules, how are you powering them ?
You'd have to include a power supply and the infrastructure in terms of wiring. More metal of course and whatnot. It doesn't take much thought to realize that would up the cost a lot. Not to mention the certification ordeal. That's no minor cost, far from it.The whole point of the 500-series is that you have the power, ins and outs etc in the 500-series rack unit itself.
Did you need to use a patchbay to connect this to your interface? I've been having issues using my AMS RMX16 as an external hardware module with my Apollo 8
@@EspenKraft I'm curious how you connect this RMX16 to your interface. My 500 series chassis only has XLR inputs/outputs, so I'm using XLR->TRS cables to connect it to my Apollo. But yours sounds better than mine.
My absolute favorite is the Rupert Neve R6 or R10, depending on how many slots you need. Plenty of amps for each module with LEDs for amp draw, a on/off switch in the front, very robust, and all 3 different physical connections at the back. DB25, jacks and XLR. Can't get better than that. Not the cheapest, but a lot of the cheaper racks produces noise in the power supply. You don't want that.
This is one of the rare cases where I truly don't miss much. I certainly don't miss the fan, the heat and the constant fiddling with an unstable original. ;-) As with all ported clones, even if it's done with the help of the original designers and source code etc., there is a faint difference here where the original has THAT vintage vibe. That vibe can vary depending on the state of the original as well. In this case I'm more than happy with this 500-series. The programs are the same and the algos sound the same. You're good to do really.
2:28 I was like, wow great sound. Then I realized that's just the "dry" vocal track. It is not possible to completely ruin a vocal track like that with any kind of processing, so in that sense, whatever reverb there is, is meaningless. ;)
@@phillymopwater It probably means that an average 9-to-5 working person cannot afford to spend around 1.369 EUR for a hardware reverb unit only. Luckily there are still some wonderful (second-hand) hardware reverb units totally under the radar.
Okay, I mean, a Vst Instrument does for me the same job and I save my money. For me, it is not worth the money. Even if I was a millionare, I would not buy it. There are so great Vst reverbs aviable for a normal price. This is psychological, its only in your Imagination. But Your Vst does the same job. Dont fool yourself! I dont know what there is, not to understand???
I got goosebumps at 5:05 when you turned that Pre-delay all the way up. That track was begging for those massive settings!! I hope someone noticed and put that into the final mix.
Worth every penny I don't have at the moment. Sounds to good to be true..... amazing!
I love reverb machines so much that I've tried most every hardware reverb...except the RMX16. Thank you for this video, I now think this is a must-have.
Thanks! It's definitely something to check out. Very few reverbs can match this, especially for vocals imo.
I love the Sound of the AMS Reverb!
That Girl singing has an incredibly Beautiful Voice also.Thank you for sharing.
Cheers!
Thanks Mark! The first vocalist is me :)
@@MeganMcDuffee great vocals!
Great to hear the collab with the singer (topliner) on the first track! 👍
It's not my collab. I was brought in to mix this song for a client a long time ago. Just using it here to show off the reverb. It's a great song and vocal delivery though.
@@EspenKraft Det skulle vara spännande att höra ett sånt samarbete som i Yazoo eller Eurythmics. Men det kräver såklart en extremt bra sångerska. 😊
Kanske det sker nåt i framtiden. ;-)
Ever since "discovering" the 500 series in one of your videos, I've become rather enamoured by this form factor. It allows you to mix and match, build a system bit by bit, and save a lot of space. It wouldn't surprise me if it would become the dominant form factor over traditional 19" units.
It's a great system.
Just discovered your channel. Man that music is heaven 🎧 🖤
Many thanks! :)
I'm surprised. This is a VERY likable reverb sound.
Excellent video (as usual, I should say)
Espen knows the 80s sound.
Espen knows show how to make it
Espen knows how to demonstrate the tools to make it.
Cheers! :)
This would have been awesome as a 19" unit...
That's ironic considering it's a clone of a 19" unit. ;-)
Love the RMX16. I use the UAD plugin everyday. I want this 500 series one, but I’ve been waiting on a few empty 500 chassis kits to go up on the CAPI site here in the US as I’m out of slots.
The nonlin on drums is my favorite 🔥🔥
RIP Vangelis
I just love when you do videos like this showing is how a certain sound was made. Actually I got more of a Jimmy Jam - Terry Lewis vibe from the drum loop 😊 the Janet Jackson stuff they did back then, Alexander O'Neal on "Fake" and not to forget "Human" with The Human League..
Great stuff.. Thanks Mr. Kraft(werk). 😊
Great sound classic clear sound.
Wow would love to see the rest of the dry vocal processing!? Sounds so crisp and upfront. Wld love a dive in eq and compression. Reverb nostalgia all over the this for me
I have videos where I show my vocal chain and process.
Wow is right. It is expensive but yeah, it sounds pretty amazing. Totally worth it IMO.
I'm not expecting to see any of these for an affordable price on the second-hand market anytime soon. So Behringer needs to clone the RMX16 for sure!
The 500 series RMX16 is about a fourth of the price of a vintage rackmount RMX16.
@@SeverityOne Which basically shows - once again - that vintage gear is way overpriced. ;-) The price for the 500 series version might be "okay" for what it does. Maybe there is some sort of affordable "convolution reverb" solution available somewhere?
@@sauermusicDE There's always software...
@@sauermusicDE Regarding the software comment: don't get me wrong, I watch Espen for a reason. But like the 500 form factor is ideal to slowly build a system without immediately breaking the bank, so you can use software plugins to do audio processing. Nobody is stopping you from swapping out a software plugin for some real hardware either, although the question is how much this new RMX16 can be considered "real hardware", because from what I gather from this video, the analogue parts are modelled, too.
This is all done in software, and the UAD plugin that came before it sounds the same. Same code and everything. There is some debate though that the UAD sounds different and more off from the original hardware. I don't run any UAD systems so I can't compare that to this.
I too agree that vintage gear is overpriced, by far. Musically vintage gear is not worth the prices it commands, but as always it's the market that decides. Gear is worth whatever someone wants to pay. ;-)
Love the Valerie Dore vibes of the 1st song. The reverb sounds stellar.
Such a great song with the 80ies vibe.
Hey, forget the gear...what a lovely song!! Lovely reverb though, especially ambience.
Reverb was cool ...but I also have to mention I was really pleased that you’d had also tried SCE to AUX 😅
Sneaky Espen has that TCE 2290 in the background. I'd love to see a comparison of that vintage rack gear against the newer desktop controller plug-in. That would be something only Mr Kraft could bring the goods on.
I don't have the plugin, nor am I going to get it, but the real thing is brought in to help out with delays on my album currently being mixed. I will do some behind the scenes so I'm sure there will be more on the 2290 later. ;-)
Thanx for showing
Cheers!
Best Reverb ever
I love the red screen, even it looks a microwave, lol
Really good video. Thank you.
Thanks!
Effects within format 500 is sadly not very common [yet], it could be interesting to see a comeback from Eventide or Lexicon on Format 500 instead of the current plugin-wave.
*Correction, Eventide has a format 500 called "ddl-500"
i like your music
Cheers!
Thanks Mate!!!!!!!!!!!
God I need this.
totally love mine...it's interesting to see UAD modelling the delay that goes with this, I wonder if that means AMS have a hardware version of that classic delay line in mind at some point in the future
We'll keep an eye out for that.
Why do you say "modelling of the delay"? Was it analog?
@@subs4794 the RMX16 500 series started off life as a UAD plug in developed in tandem with AMS Neve as far as I know. AMS then developed this code into the 500 series rack so wondering if they might do the same for the delay line so you could have the original pairing
Ian (or Espen if he knows too), were you able to compare the 500 series against the UAD plugin and/or impulse responses (like the amazing Inhalt Townhouse collection)? I'm curious to know if this hardware is any better vs these, especially algorithms like Ambience or NonLin2. It's hard to tell in the video comparisons, how dramatic the true quality difference is, especially in regards to stereo imaging & fidelity, as RUclips doesn't do the best job encoding hifi audio in my opinion. Would love to hear your thoughts. Thanks!
@@gretalink hi, sorry I don't have the plug in as my whole intention is to get out of the box for good, so can't comment here sorry.
I Can Envision Some Amazing Songs With your Synth Style and Song Arrangements together with Megans Singing and Lyrical style. 🌟
She is definitely a singer that would come high on my list over potential vocalists for my music. I'm also very fond of her vocal timbre and delivery.
The RMX16 sounds amazing. I especially liked how ethereal the Plate program became. But you buried the lead -- that's an awesome re-imagining of _In Too Deep!_ I wanna hear the whole thing now. 👍️
Full version through the video description. ;-)
Nice Apollo XII referens!
Fantastic review! Does this unit do any modern reverbs or is primarily an 80s replica? Thanks! 🙏
This is a clone of a classic 80s reverb. That's what it does. Cheers
Thanks for sharing this video with poor beggars like myself who can't afford the RMX16.
I'll just add it to the list for Aladdin and his magic lamp.
Check out the Alesis MidiVerb II. I have a video on that. You can get some seriously good reverse and gated programs in that with lots of character.
@@EspenKraft Thanks for the suggestion. But all the gear to connect the reverb to is on Santa's list. I need to wait for Santa first.
Besides, I want new gear, not second hand, I want it to be midi 2.0 and it needs to come in a rack version.
@myself: good luck, and dream on
@@jacquesmertens3369 Rack synths are essentially dead. The big three (Yamaha, Roland, Korg) stopped around 10 years ago with them, and only the Integra-7 is a current model - but for how long? Sure, you can buy some esoteric synths as a rack, or more often you can mount a desktop unit in a rack (the Modal synths, Deepmind, etc). But that's it.
In my mind, the 1990s, more so than the 1980s, were the heyday of rack synths. This is the decade where digitalisation made it possible to put all those electronics into a small unit. Of the seven rack synths I have, only one is from the 1980s, and it currently doesn't work. (And I'm pretty sure that Espen doesn't have one, which is kinda funny. It's a Böhm Dynamic 12/24.)
The style of composing (electronic) music has changed. Nowadays, it's simpler to put everything inside a computer. Maybe not as much fun, but "fun" doesn't pay the bills. I'll accept the argument that there are artistic considerations for using hardware - but not if those are rack units, because they're a total pain in the you-know-what to program. Keyboard synths, desktop units and software are much easier.
So just get a bunch of 1990s rack synths. I got myself a Korg Wavestation SR, Jomox AirBase 99, E-Mu Morpheus (need to fix it), two E-Mu Proteus 2000, Walfdorf Micro Q, and the aforementioned Böhm Dyanmic. More sonic potential than I can hope to exploit in the foreseeable future.
@@SeverityOne You're absolutely right of course. What I want does not exist. We're also talking about a transition of the sound I really want (12-bit, such as the early DX7) via 16-bit (early 90's, e.g. Korg Wavestation SR) to 32-bit towards the end of the 90's (e.g. E-Mu Proteus 2000). I can currently pick up a E-Mu Proteus 2000 for around 200 EUR, but it doesn't produce the 80's sound I want. Also, unlike yourself, I have no clue about fixing electronics. I can replace capacitors or broken connectors, but that's about it.
I suppose I need to go to heaven before I will find my synth heaven. In the meantime I'll just enjoy Espen's channel and others.
@@jacquesmertens3369 Espen has made a couple of great videos about how the sound of 12-bit samplers is really special. Bit depth doesn't make better music.
And as for the Proteus 2000, I have two, and I very much doubt that they have 32-bit D/A converters (which is hopefully what we're talking about).
The P2000 is very 1990s, but beware of the ROMs: they're hideously expensive. Unless you get a cloned one, which is still expensive, but not to the extent that asking prices for such ROMs like Beat Garden, Techno Synth Construction Yard and World Expedition are.
Sounds really nice. The Lexicon 200 or 480 could also be such a well-received hardware resurrection. 😎 The “In Too Deep” nod is fantastic btw!
Cheers :)
Wait, did you do a cover of In Too Deep? Sounds great with the AMS reverb too!
merveilleuse.
P.S.
but the VU on the device at left is painted in 0 db?
The device is not in use.
I wanted one but it costs 1295.00 usd for a reverb !!
Not a lot of money for something that you want we spend 20 to $25 on lunch. I would rather pay for the year then send it to the IRS if you understand what I'm saying.
Wow love that song with the female vocalist and the 80’s drums. Those drums sound very Tears for fears like with that reverb. I notice you’re not using a lunchbox to power your 500 modules, how are you powering them ?
I am indeed using 500 series racks to power my 500 series modules, you have to do that. ;-) Cheers
That’s a steal. I mean, where can you find a reverb for less than 1.500 $, these days? Grap yours before price goes up. 😉
What samples are using for the kick and snare on the gated verb setting
Custom made drums.
i wish AMS went for a regular 19inch rack format. I'm reluctant to dive in the 500 rack rabbit hole for this. The reverb sounds amazing.
It would cost a lot more if they did. That's the whole purpose of the 500 series idea. They're much cheaper.
@@EspenKraft Why would it cost a lot more? You just put it in a different casing with some screws.
You'd have to include a power supply and the infrastructure in terms of wiring. More metal of course and whatnot. It doesn't take much thought to realize that would up the cost a lot. Not to mention the certification ordeal. That's no minor cost, far from it.The whole point of the 500-series is that you have the power, ins and outs etc in the 500-series rack unit itself.
@@EspenKraft ever heard of the boss se70? they could also just use that design. Where there is a will there is a way,
I love the small unit size. Can whack it in a small frame
Did you need to use a patchbay to connect this to your interface? I've been having issues using my AMS RMX16 as an external hardware module with my Apollo 8
Don't have to, but all the effects come up on the patch bay.
@@EspenKraft I'm curious how you connect this RMX16 to your interface. My 500 series chassis only has XLR inputs/outputs, so I'm using XLR->TRS cables to connect it to my Apollo. But yours sounds better than mine.
Hi Espen. Which 500-series housing would you recommend (cheap ones with five or six slots)? Thank you.
My absolute favorite is the Rupert Neve R6 or R10, depending on how many slots you need. Plenty of amps for each module with LEDs for amp draw, a on/off switch in the front, very robust, and all 3 different physical connections at the back. DB25, jacks and XLR. Can't get better than that. Not the cheapest, but a lot of the cheaper racks produces noise in the power supply. You don't want that.
As a reverb aficionado, I couldn't hear the reverb tails.
Hey Espen, is this an artist you're producing for? The female singer?
No, this is a song I mixed for a client. As I say in the video, check the video description for more info on this.
@@EspenKraft Awesome. Sounds great man. How long have you been mixing. I may have a song for you soon.
I've been doing this since the late 80s. Been a pro musician since then really. This is what I do. ;-)
@@EspenKraft Awesome. Thanks Espen You have a great ear. Love you mixing.
Cheers!
what mic do you use to record your vocals?
If you mean my voice-over vocals, it varies, but lately the Austria Audio OC18.
@@EspenKraft I thought he was asking what mic for your singing vocals...
@@subs4794 Then the answer would be the same, the Austria Audio OC18. Sometimes a vintage Neumann U89 and sometimes a AKG D5.
What's that thing right of the RMX that looks like it is ripped out of an Apollo command module?
It's exactly that. A piece of gear from the Apollo command modules.
@@EspenKraft I didn't a normal human being was able to get this for his studio but we'll you are Espen Kraft 😂
Did you add some actual functions to these switches?
No, but I have some ideas. Not a priority though. Will do it when I have the time and go. ;-)
These panel switches can be bought by everyone of course and I highly recommend getting one. They're very cool.
Do you think this sounds much better than the plugin ???
What plugin? There are several.
The uad AMS @@EspenKraft
Sounds pretty much the same.
really. ?? the hardware doesnt sound better? you think its worth gettiing or just use the plugin ?@@EspenKraft
I'd go for the "Glow" from Wave Alchemy. After testing that, all other emulations of the AMS RMX16, even from AMS Neve themselves are obsolete.
what do you miss compared to the original?
This is one of the rare cases where I truly don't miss much. I certainly don't miss the fan, the heat and the constant fiddling with an unstable original. ;-)
As with all ported clones, even if it's done with the help of the original designers and source code etc., there is a faint difference here where the original has THAT vintage vibe. That vibe can vary depending on the state of the original as well. In this case I'm more than happy with this 500-series. The programs are the same and the algos sound the same. You're good to do really.
@@EspenKraft sounds great, also less maintenance and size!
2:28 I was like, wow great sound. Then I realized that's just the "dry" vocal track. It is not possible to completely ruin a vocal track like that with any kind of processing, so in that sense, whatever reverb there is, is meaningless. ;)
To expensive. Vst rules, I must earn my money by myself with honest work.
what does that even mean
@@phillymopwater It probably means that an average 9-to-5 working person cannot afford to spend around 1.369 EUR for a hardware reverb unit only. Luckily there are still some wonderful (second-hand) hardware reverb units totally under the radar.
@@phillymopwater that he doesn´t wants to sell charlie in a basement to get gear.
Okay, I mean, a Vst Instrument does for me the same job and I save my money. For me, it is not worth the money. Even if I was a millionare, I would not buy it. There are so great Vst reverbs aviable for a normal price. This is psychological, its only in your Imagination. But Your Vst does the same job. Dont fool yourself! I dont know what there is, not to understand???
yeah everyone else has the wool pulled over their eyes. They have been psychologically fooled. Good thing you personally have figured it out!