Sound Workshop 242/262 users

[dialectic1]

Can anybody here explain to me the difference between the Sound Workshop 242, 242A, 242B and 242C series of spring reverbs.

In addition to this, how does the 242 compare to the 262 and how many revisions of this model number were released?

Any other type of Sound Workshop spring reverbs out there?

Many thanks in advance.

[dsw]

Have you tried the Sound Workshop user group? They are a yahoo group. Someone there should know....

[dialectic1]

Thanks for the advice dsw. I have now signed up to the Sound Workshop user group and hopefully someone there can set me straight regarding the various model numbers.

It would be great to hear from anyone here though regarding any advice, tips, opinions etc of the Sound Workshop spring reverbs.

[dialectic1]

My membership to the Sound Workshop user group is still waiting for approval and as I may be in for a long wait any info posted here would be greatly appreciated.

So, any 242 or 262 users that can help me out here?

[alkooloid]

My 262 ROCKS! Very platish. It has semi-parametric EQ for each side. Best of about 6 I've got. eBay score.

[dialectic1]

My 262 ROCKS! Very platish. It has semi-parametric EQ for each side. Best of about 6 I've got. eBay score.

Thanks for the post.
What are the other 5 spring reverbs that you own?
Do you know how the 262 differs to the 242?
Are there any variations of the 262 as with the 242, i.e 262A, 262B, 262C?

[ott0bot]

I have a 242a. First....i love it. Mostly used reverb pedals, plug-ins and reamping before, which all still have their place, but the 242a has some unique sounds.

Now...I can't comment on exactly what sets them all apart, but I can tell you about this unit, and maybe you can compare that to the others you've heard about.

Here's a pic:

Sorry for the crappy pic, it's all I could find.

So what you have on the front is a L & R input level, reverb level and eq for each channel. There is also a "Input Bal" button, which really doesn't do much on my unit, not sure if it's functioning propertly. The back has 2 1/4" mic inputs, 2 1/4" line inputs, and 2 1/4" outputs, all unbalanced. Also, most annoyingly, there is a switch (not sure what it exactly says) that gives you a 100% wet signal, or a blended dry/wet signal, on the back. I have an empty rack space below it so I can reach up and change it if needed.

It does sound like a "mini" plate, but also can get really nice slaps and overdriven sounds. It's got a good balance of short and long decay when the reverb and input knobs get adjusted right. My main complaint is that it's a bit noisy unless you roll off the eq. I tend to roll the highs off my sends anyway, but this makes them even more midrangey. I cleaned the jacks and interior pretty thoroughly and my cable lengths are short....so I'm guessing this is just the nature of the unit. Hope that helps.

[dialectic1]

Thanks ott0bot, this is most helpfull.

Any additional post such as this would be greatly appreciated.

[dialectic1]

Bump, bump...boing!

[joel hamilton]

I love the 242a.
It is one of the most useful spring reverbs in a rack that I have ever used. It gives actual, nice reverb tails.. not just cartoon springy sounds like the small springs in space echo's or like the demeter or intersound springs. It actually has a depth to it, not unlike a master room spring, but with a bit more "stax" in it... which I like. if you high pass the hell out of the send you can atually use it on drums.
its REALLy great with another verb before it. I used to run my SPX90 into it, just to diffuse the snare, and the vocal, and then let the spring make it sound "real" after the SPX blows it to smithereens...
I use the 242 into a plate sometimes, or into the bricasti M7. or all three, with a tape echo as predelay for the spring.
totally useful, no matter what other verbs you have in the room.

[alkooloid]

My springs include:
Quad Eight RV-10
Furman RV-1
Master Room XL-210
Sound Workshop 262
Peavey Valverb
What's the kid's toy with a spring held between two solo cups? Oh, right Zube Tube!
Thing is great, you can do all kinda wacky stuff, like touch the spring, etc., or setit up and run a small speaker on one end and a mic on the other, sort of like a chamber. set in in the drum room and mic it or for real funky guitar verb. I've recorded it at the same time as vocals etc. Impress your friends! http://zubetube.com/

[joel hamilton]

Also have the peavey valverb, intersound spring, AKG BX5, and korg stage echo (with spring).

Love the sound workshop best for real musical verb, along with the peavey. the rest are for effect...

[dialectic1]

My springs include:
Quad Eight RV-10
Furman RV-1
Master Room XL-210
Sound Workshop 262
Peavey Valverb
What's the kid's toy with a spring held between two solo cups? Oh, right Zube Tube!
Thing is great, you can do all kinda wacky stuff, like touch the spring, etc., or setit up and run a small speaker on one end and a mic on the other, sort of like a chamber. set in in the drum room and mic it or for real funky guitar verb. I've recorded it at the same time as vocals etc. Impress your friends! http://zubetube.com/

That Zube Tube sure looks fun!
Regarding the SW, from the info/pics already posted on the 242 is there anything that seems different to your 262?

[dialectic1]

I love the 242a.It is one of the most useful spring reverbs in a rack that I have ever used. It gives actual, nice reverb tails.. not just cartoon springy sounds like the small springs in space echo's or like the demeter or intersound springs. It actually has a depth to it, not unlike a master room spring, but with a bit more "stax" in it... which I like. if you high pass the hell out of the send you can atually use it on drums.
its REALLy great with another verb before it. I used to run my SPX90 into it, just to diffuse the snare, and the vocal, and then let the spring make it sound "real" after the SPX blows it to smithereens...
I use the 242 into a plate sometimes, or into the bricasti M7. or all three, with a tape echo as predelay for the spring.
totally useful, no matter what other verbs you have in the room.

Also have the peavey valverb, intersound spring, AKG BX5, and korg stage echo (with spring).

Love the sound workshop best for real musical verb, along with the peavey. the rest are for effect..

From your description the SW sounds exactly what I'm after from a spring reverb and reinforces the great things that I have heard about them already. I have a few low end spring reverbs but I'm now after something that is more versatile and musical that could be used on the likes on vocals, snares etc and it seems that the SW fits the bill perfectly.

When putting the signal through another verb prior to the SW do you tend to opt for a short verb to just break it up a little then leave the SW to add the tail or do you tend to use a longer verb that compliments the SW?
Out of interest, what type of program do you tend to use on the Yamaha SPX?

[joel hamilton]

When putting the signal through another verb prior to the SW do you tend to opt for a short verb to just break it up a little then leave the SW to add the tail or do you tend to use a longer verb that compliments the SW?
Out of interest, what type of program do you tend to use on the Yamaha SPX?

I usually use a short to mid length verb, like 1-2 seconds, but then with a tiny bit of modulation and predelay from something like an effectron, things can get really interesting. Like effectron>spx90[hall]> SW spring with input mix ON or OFF depending on what I am doing with it.
You can really get some lush [abused reverb adjective] , swirly, rich [again] harmonic "animation" happening through that thing.
EVen just a delay with modulation into the SW spring in MONO can be an incredible asset to getting a vocal to really feel superhuman. Just the most tiny bit of modulation on a PCM42 or effectron or SDE3000 or whatever you have can really bring a nice spring to life, and pull it up and out of 1971.... and straight into 1986!