DOWNLOAD: Gotham_Audio_1979

Products mentioned, with text + photos, include: Telefunken M 12A, M 15A, and M15A Multitrack (32 tracks!) tape machines; Telcom C4 noise reduction system, TTM universal noise reduction frame, Neumann microphones including U89, KMR 82, USM 69; Neuman VMS 80 Disc mastering system, SP 79C Disk Cutting Console, MT 80 preview  playback tape deck, SAL 74 Cutter Drive Logic (600 watts per channel!!!!), and SX 74 cutter head; EMT 240, 250, 140, and 244 reverbs; EMT 424 and 422 flutter analyzer, and EMT 950 turntable; K+H 0-92 and Model OY speaker; the EFP Phonograph plating plant (!!!!), NTP console modules 179-120 compressor, 177-520 oscilloscope, and a range of meters; plus a bunch of other related bits+bobs from the end-of-the-line of crazy-hi-end analog studio infrastructure.   Just be glad you didn’t buy a new Swedish-built LP plating plant in 1980, ‘aight?  Re: bits+ bytes are just ’round the corner….

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For our earlier scan of the 1972 Gotham Audio catalog, click here.  Astute commentators are encouraged to reflect on what had changed significantly between ’72 and ’78.  And sage speculation on what might change between today and 2019 is equally encouraged.

DOWNLOAD: EMT_244_250_reverb

That giant 99-lb star-wars-lookin thing above is an EMT 250.  Ten years ago I was working on a session at Ocean Way Nashville and they still had one of these things right next to the console.  Anyone out there still using a 250 in the studio?  The 250 uses 12-bit, 24k convertors, which means that both input and output are low-passed at 11Khz.

This brings up a good point about reverb in general: you don’t need a lot of hi-end to create good-sounding reverb for most applications…  I always keep some sort of low-pass filter active in my reverb returns to trim off anything that’s not contributing in a meaningful way.  Luckily, even the most basic reverb plug-ins tend to have a low-pass adjustment built in.  My $0.02: use it!

Very interesting to read this: so apparently the 250 uses 19 different taps, with feedback only on some of them.

The lesser-known 244 (i’ve personally never seen one, FWIW) uses 13 bit convertors; no sampling rate is specified, but given that the frequency response is stated between 30hz and 8khz, it’s likely around 20k.

To you veteran engineers out there: was the 250 the first high-quality digital reverb? Were there any earlier units that you have used?  Let us know,,,

DOWNLOAD: EMT_240_reverb

The 240 was apparently intended not to replace the 140 so much as provide a smaller, portable (132 lbs haha) alternative.  I’ve provided y’all with 10 pages of documentation here, it’s worth reading..  this thing really is an engineering marvel.  Rather than a ‘plate,’  the reverberant surface is a tensioned sheet of gold-foil 18 microns thick.  This gold-foil material, btw, was a completely in-house-made material…  fkkn crazy.  Anyhow, check it out…   those of you who have had experience working with both a 140 and 240, pls weigh in on the relative merits thereof.

DOWNLOAD: EMT_140_ts_1971

I was recently given a large collection of 1970s EMT documentation, so get ready for detailed info on pretty much every EMT reverberation product ever made.

I met a studio owner recently,  it was a very nice place, some excellent gear and instruments, mentioned that he was in the market for a plate; he felt that a good plate reverb is a piece of kit that can actually be a significant factor in a producer or engineer choosing one facility over another for a project.    Those of you who regularly hire facilities for projects: agree?  As a studio owner, I’ve personally been planning on skipping the plate and going directly to building a chamber, but who fkkn knows when/if this will happen.  Plate would sure be nice… here’s what EMT had to say about the 140 back in ’71:

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For previous plate reverb coverage on PD dot com, click here…