Since most of us are human (?), I expect we'll follow human nature and use mainly the preset reverb programs on the DPS-R7. (The S1100 does of course have inbuilt digital effects, but with due deference to the manufacturer of the world's most popular samplers, the reverb isn't quite up to the standard of the DPS-R7). I'm very taken by the idea of connecting the digital output of an Akai S1100 to a quality effects unit like this and then perhaps chaining it still further in the digital domain. Also round the back are connections for a remote controller, but unfortunately there's no digital input or output. Full marks to Sony for abandoning that dodgiest of connectors whose name I am not even going to mention. As a practising sound engineer for more than 12 years I can testify that most of my technical problems have been due to dodgy connections.

For dedicated jack plug enthusiasts there are suitable sockets too, with 14dB higher sensitivity. Round the back we find what we like to see most on any piece of professional audio equipment: balanced XLR connectors. As LCDs go, the R7's is a very respectable size, very bright and clear too, and highly readable from one's normal position seated at the console. The metering, as on most effects units, is adequate rather than wonderful but the 8-step LED bargraphs featured here are at least better than a good many of the level indicators I have come across on effects units. It's very useful to be able to mix the two on the unit itself, although most engineers will mix in the reverb via an auxiliary send on the console.

There is a dual concentric input level control and there are separate stereo output level controls for dry and effect level. Physically, the DPS-R7 is identical to the DPS-D7, the only difference being that one letter in the name. Of course I am speculating, as I don't have an insight into the manufacturers' minds, but since I would very much like to have a better choice of quality easy-to-use effects units than exists at the moment, I see no harm in promoting the idea. Multi-effects units have been justly popular in recent years, but once you have one in your studio why would you ever want to buy another? One decent multi-effects unit is enough for any studio, and soon we'll have a choice of dozens (hopefully) of classy single effects units, each of which does one particular job and does it very very well. If you read my review of the D7, which together with the DPS-R7 reverb represents Sony's first real push into the effects unit market, you might remember that I said it was probably the first of the new wave of single, as opposed to multiple, effects units. No sooner do I get the new Sony DPS-R7 home than the post lady arrives and pushes through my letter box a bulky envelope containing the latest issue of Sound On Sound with the DPS-D7 pictured proudly on the cover.

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