by J. Arif Verner

Many manufacturers have seen the writing on the wall and have released new products based on vintage designs. One such unit is the Symetrix 606 Delay F/x Machine. What was the initial inspiration? Try Lexicon’s PCM 42 and Prime Time delays. However, Symetrix is not trying to bring back memory lane, but rather update a seventies classic into the nineties.

Features

The most obvious difference with this box are the 10 rotary knobs with their smooth indent positions. Yes, they are meant to be used and turned. These knobs serve multiple purposes via a three Command Line architecture. Symetrix has conveniently printed the parameter names next to each knob.

Also on the dark blue front panel are four buttons. These handle utilitarian chores like load, save, select and program mode. To the left is a meager three-character LED. And finally there is a master input control with a four-stage dual level meter. Personally, I would have preferred more increments than four.

Around the back of the box is a pair of 1/4 inch balanced/unbalanced inputs and outputs. Unlike the processors of the seventies, the 606 has MIDI in and out/thru. There is also a footswitch jack for Tap Tempos. This is a good idea; however, there should also be a Tap Tempo button on the front panel. Tap buttons are rapidly becoming standard fare on most new processors. Finally, there is the power supply connector. The good news is that the 606 does not use a wall-wart. The bad news is that there is no main on/off switch. We see more and more gear these days without on/off switches - it may be cost saving, but, for us it is an inconvenience.

The 606 provides an adjustable memory resolution. At 16 bits, the maximum delay per channel is 2.74 seconds; at more than 24 bits, it decreases to a 1.35 second delay per channel. Unfortunately, the memory is not expandable. The A/D and D/A conversion are 20 bit delta sigma. The sampling rate is at 46.875 kHz.

The 606 ships with 109 memory locations. The first 99 presets are RAM based while the remaining 10 are ROM. Symetrix refers to the ROM presets as “building locks.” Hence, they are an ideal starting point for creating new programs. If the original RAM presets are overwritten, they can not be automatically restored. So an initial MIDI Sysex dump would be a good idea to save the settings. The 606 has a versatile collection of chorusing, flanging, echoes, tremolos, tap delays, reverb simulations and other effects. How do they sound? Great! This box is clean and quiet. And the presets cover a wide range of useable applications from studio recording to live sound to post work.

In Use

By hitting the front panel “mode” button, the 606 can be configured in different ways. In “dual mono” mode, the unit functions with two separate delay lines. In essence, this allows it to act as two independent delay processors. When set to “stereo”, the two delay lines share parts of the input signal. Single channel programs are considered a variation of the “dual mono” configuration. In “series” mode, one delay channel is routed into the other. Some nice flexibility here.

The basic Command Line sets four rotary knobs to each of the delay channels. Functions like mix, time, feedback and modulation are controlled here. These are basic features found in most processors with delay algorithms. In all likelihood, most people will dwell at this level of the 606.

Hitting the “select” button takes the user into the next Command Line level. Things begin to get more interesting. Here we are looking at the same knobs now controlling the center filter frequencies, the filter Q bandwidth, diffusion amount for delay repeats and MIDI clock sync (settings for note synchronization). Also, the main output knob from the first level becomes a parameter adjust.

Going to the third command line offers six modulation modules. Often referred to as continuous controllers, these modules allow parameter changes to take place over a period of time. The idea is that they provide additional expression and character to the effects. For example, the 606 could increase the speed of the auto-panner or gradually change the depth of a chorus effect. Modulation can be controlled internally by an oscillator source or externally by a MIDI controller. And these sources can be assigned to practically any parameter. However, each modulation module can only be assigned to one destination at a time.

Finally, the “mod level” knob controls the amount or level of modulation for each module. It should also be noted that modules are not tied to either delay line, but each module can be assigned to numerous points along the signal path of either delay. Also available at this level are controls for oscillator rate, diffusion and room size (for the reverb simulators).

Surprisingly, MIDI data can not be sent from the modulation modules to an external source like a sequencer! The 606 has seven internal modulation sources and eight external MIDI control sources. Internal mod sources include numerous “triangle”, “sawtooth” and “random” wave generators in addition to a “log converter” generator. MIDI sources include the standard mod wheel, foot and breath controller and MIDI volume, balance, pan and note number (high and low).

If that is not enough, there are 17 choices for destinations. Take your pick between delay time, filter frequency, feedback source mix, wet output pan attenuation, etc. Keep in mind, these parameters can be set for each of the two delay lines. And there are six modulation modules that can have these source and destination settings. For those of you who have worked with modular synthesis, this stuff will be familiar.

To take it a step further, there are 80 additional parameters that can be adjusted. Simply hit the select button and turn the “global parameter select” knob. For example, parameter 31 sets the mod source for module 2 and parameter 59 smoothes the envelope generated by the log converter. However, not all of the 80 parameters apply to all of the programs. Also, while editing a patch, the user will often traverse the different command lines - back and forth.

Yes, this is powerful stuff but it is not very user friendly. The only way to keep track of everything is through a three-digit LED. Symetrix also provides a nice laminated flow chart - if that helps. Needless to say, the manual must be kept close by. How else can you tell that “NE3” means “medium room early reflection simulation 3”? Or “7r2” means “triangle wave generator 2”? Only people with a degree in “encryptionology” will be able to figure this stuff out.

Summary

Symetrix must be commended for designing a powerful piece of gear with excellent audio quality. But the power can overwhelm the interface. To make the box more user friendly, what it needs is an LCD display. Or how about some kind of remote editing device (like Lexicon’s MRC). Or the simplest solution might be a computer-based patch editor. All of these options, of course, would likely increase the cost. Maybe Symetrix should make two versions: a premium one with all these features plus the friendlier interface - and one without all the bells and whistles at half the price.

We really like this unit. It is an ideal digital Swiss army knife for any kind of studio. But Symetrix may be putting too much in too little space. Ultimately the user will have to decide how far they wish to delve into the 606. Of course, always, audition your prospective gear purchases and make up your own mind.

Plus
+ Real time control knobs
+ Clean sound quality
+ Useable Presets
+ Extensive parameter control
+ Innovative design

Minus
- Modulation Modules do not transmit MIDI data
- Memory not expandable
- No on/off switch
- No “bypass” or “compare” button

The Score
A very powerful delay processor which is easy to use at its most basic level but the interface is inadequate for extensive editing.

At-A-Glance
Application: Recording studio, live sound, post production Key Features: Real time control knobs for delay parameters, extensive modulation routings, filter control, audio effects

Price: $649