- AMS DMX 15 80S DIGITAL DELAY MANUAL
- AMS DMX 15 80S DIGITAL DELAY PORTABLE
- AMS DMX 15 80S DIGITAL DELAY PROFESSIONAL
AMS DMX 15 80S DIGITAL DELAY MANUAL
The operation manual can be found here. Handy recall sheet here. However, as with all digital emulations of vintage hardward, nothing can match the sound of the real thing. Their sound is still so coveted that Universal Audio have now collaborated with AMS to produce the UAD plug-in version. The DMX can be heard on thousands of recordings from the 80s to the present day and was certainly one of the core studio staples that defined the musical soundscape of the 80s. Today AMS units such as this can still be found in regular use in top studios worldwide. Manufactured from 1979-1985 these were the cutting edge of digital technology AMS designed and built these with great care and attention to detail and they soon became ubiquitous in studios worldwide. I began to put the C-800G out for every solo or lead instrumentalist, as well, soon finding it particularly realistic on acoustic bass, recording legendary player Rufus Reid or saxophonist Kenny Garret, also iconic trumpeter Wynton Marsalis with it, to name a few.Finding a vintage digital AMS rack unit in top operating condition is becoming ever-harder ‘cheap’ examples can be found online, but they can require a great deal of tech time, and sometimes fixes are simply not possible. I remember using it for a Carly Simon album, “Moonlight Serenade” and she said it was the best her voice had ever sounded. I then recorded a Grammy nominated record for famed Soprano Kathleen Battle, “So Many Stars”. I was primarily doing Broadway, Classical, and Jazz albums at the time and first used it to record a Grammy winning album “Turned To Blue” by legendary jazz vocalist Nancy Wilson, her very last studio album. Vocal sessions with Celine Dion, Mariah Carey, Destiny’s Child and then Beyoncé, and Shakira were on the daily schedule then. I first started using the C-800G as a staff engineer at Sony Music Studios NYC in the mid-1990s shortly after it first came out. I didn’t need to compress or EQ it to get it out in front of a dense instrumentation in the final mix. Every voice or instrument’s true essence comes shining through the mix effortlessly. Knowing its true characteristics means that no matter who my vocalist is or what instrument I’m recording, that the C-800G’s brilliant sound comes through no matter what preamp I use. Today, I use it along with other gear that may give out more extreme effects, but I always think of using it, depending on the material, of course.” As well as saying the obvious “chorus ”, I loved to use it as a ‘subtle’ effect which can sometimes only be identified when used on long notes. Sometimes people have asked me “what did you use for getting that sound?”. For example, with instruments like acoustic guitars and synth pads, for which we wanted to maintain the character of the material, but wanted to add a little bit of depth or make it sound wider while still keeping it sounding natural, the DPS-M7 was a very effective tool to use. Compared to the two other pieces of gear, it didn't have such an extreme sound, but rather had a plainer sound, but there were several situations that this unit was best for. My most favorite algorithm was the 9th “ENS” (Stereo Ensemble). Along with H-3000 or DMX 15-80S, I used it on many different instruments.
AMS DMX 15 80S DIGITAL DELAY PORTABLE
I wished, though, to have something that was unique, and something portable that I could bring to live venues, and that made me purchase the DPS-M7. Both were very commonly found in most of the studios. “Back then, I liked chorus effectｓ and used either the EVENTIDE H-3000 or AMS DMX 15-80S. With the MU-R201 I thought “Let this machine be the one that only I can master!” and I used it in many recording sessions, of course, but also in concert situations with bands like Tokyo Ska Paradise Orchestra.”
AMS DMX 15 80S DIGITAL DELAY PROFESSIONAL
As well, there were several other experienced people who were familiar with professional gear being used in studios, so as a young engineer I felt that to be able to use a new piece of equipment before anyone else was a mission. But that still wasn’t just a little purchase for me at the time, and I thought I should use it as much as possible. So, I purchased an MU-R201, which was much more affordable. When I tried out the DRE-2000 with the same parameters, it sounded very similar. It sounded as if the whole room was resonating and I thought I could get the right ambient sound for the new wave genre from Love and Rockets. At first, I tried the MU-R201’s short reverb, which was popular at the time, and I really got into it. Back then, I was working in a studio in Osaka and couldn't afford the DRE-2000, but when the MU-R201 was released I had an opportunity to rent both devices. “From the late 80s to early 90s, there were always new innovative products released from many companies almost every 3 months, and that was the time when “the fast introduction of recording gear” was happening at the same time as “the fast introduction of music”.
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