After building up my collection of affordable synths – the Behringer Model D, Poly 800, and Kobol – I had a problem many analog synth enthusiasts know all too well: these incredible machines sound amazing, but they’re bone dry. No reverb, no spatial effects, just raw analog power that desperately needed some atmosphere.
I’d been running everything through software reverbs in my DAW, but the workflow was killing my creativity. The magic of jamming on hardware was getting lost in the computer, and I knew I needed a hardware solution. After months of research, I stumbled across the Yamaha Rev500 Digital Reverberator on eBay for €60 shipped which was a steal.
Understanding the Rev500: A True Stereo Digital Reverberator
The Yamaha Rev500 isn’t just another budget reverb unit – it’s a professional digital reverberator that originally retailed for $600-700 in the late 1990s. Built around 20-bit A/D and D/A converters with 44.1 kHz sampling, this rack-mount unit delivers the kind of sound quality that competed directly with Lexicon units of its era.
What sets the Rev500 apart is its true stereo processing capability. Unlike pseudo-stereo units that simply pan mono reverb, the Rev500 processes left and right channels independently, creating genuine stereo space. For analog synths like my Behringer Pro 800, this means the stereo image of those lush polysynth pads gets enhanced rather than destroyed.
Technical Specifications That Matter
The Rev500’s specs reveal why it punches above its current price point:
- Frequency Response: 20 Hz to 20 kHz (+1.0 dB, -2.0 dB)
- Dynamic Range: 96 dB typical
- Input/Output: Balanced XLR and 1/4″ TRS connections
- Level Switching: +4 dB or -10 dB (crucial for interfacing with different gear)
- MIDI Implementation: Full program change and continuous controller support (This I still didn’t try but it seems like you can control more parameters with a simple midi controller via Midi CC)
Why I Chose the Rev500 Over Modern Alternatives
The Budget Reality Check
Let’s be honest – when you’re already investing in some analog synths (which, despite being affordable like the Behringer analog copies, still add up), dropping another €500+ on a Strymon or Eventide reverb feels excessive – At least for me. The Rev500 offered professional-grade reverb at the price of a decent overdrive pedal. Sometimes the vintage market works in your favor. And to add one more thing, I am just curious how all these devices from the 80s and 90s sound in modern hybrid setups. Sometimes new reverb plugins sound too sterile and “way too good”. You want to include some dirtyness in your music and make it “less perfect”
The Workflow Factor
I wanted something that would integrate seamlessly with my hardware-focused setup. The Rev500 delivers:
- Zero latency (crucial when jamming)
- Immediate control (no menu diving)
- MIDI integration (program changes with my sequences)
- Professional connectivity (balanced outs to my patchbay or interface)
The Rev500’s Four Program Types
Understanding the Rev500’s preset structure is crucial to getting the most from it. The unit organizes its 100 factory presets into four distinct categories, each with 25 programs:
HALL Programs (1-25): Epic Space Creation
The HALL category contains reverbs simulating large acoustic spaces. For my analog synths, these are absolute gold:
Large Hall 1 & 2 (Programs 1-2): My go-to settings for Poly 800 string pads. Large Hall 1 is brighter and cuts through dense mixes, while Large Hall 2 adds warmth without muddiness.
Church 1 & 2 (Programs 9-10): These cathedral simulations turn my Model D leads into soaring, spiritual experiences. The long decay times (adjustable up to 99 seconds) create infinite sustain.
Medium Hall 1 & 2 (Programs 11-12): Perfect for Kobol filter sweeps. The reverb follows the filter movement, creating evolving spatial textures that are absolutely hypnotic.
ROOM Programs (26-50): Intimate Ambience
The ROOM category provides more intimate spatial enhancement:
Large Room 1 & 2 (Programs 26-27): These add presence to my Model D bass sequences without overwhelming the low end. The slightly “quirky thick sound” mentioned in the manual actually complements analog warmth perfectly.
Live Room 1 & 2 (Programs 29-30): Incredible for making my Poly 800 sound like it’s being performed live. The manual describes these as simulating different distances from the sound source – exactly what you need for dynamic arrangements.
Medium Room (Program 32): My secret weapon for Kobol percussive patches. It adds the feel of a recording studio without the excessive decay of hall reverbs.
PLATE Programs (51-75): Vintage Studio Magic
The PLATE category is where the Rev500 truly shines with analog synths:
Basic Plate (Program 51): The foundation setting that works with everything. The metal plate simulation adds that classic studio character that defined countless 70s and 80s records.
Beauty Plate (Program 52): Lives up to its name with my Poly 800 brass sounds. The “bright, highly dense” character creates that sought-after vintage polysynth vibe.
LA Plate (Program 53): The manual describes this as the “bright, transparent plate sound popular on the West Coast.” Perfect for making my Model D leads sound like they belong on a Kraftwerk album.
Vocal Plate 1 & 2 (Programs 65-66): Don’t let the name fool you – these work brilliantly on analog synth leads. The slower attack characteristics complement the sometimes sharp transients of analog oscillators.
SPECIAL Programs (76-100): Creative Processing
The SPECIAL category combines reverb with other effects:
Flange Room (Program 76): Combines reverb with flanging – incredible on Kobol experimental patches. The resonance variations create constantly evolving textures.
Rev Tremolo through Sample & Hold (Programs 86-89): These add rhythmic modulation to the reverb. Perfect for creating moving, breathing spaces around static analog synth pads.
Dyna Filter series (Programs 92-94): These level-dependent effects turn acoustic drums into synth drums, but they’re equally magical on percussive analog synth patches from my Model D.
The Interface: Hardware Control
Real-Time Parameter Control
The Rev500’s four rotary PARAMETER EDIT controls provide immediate access to the most musical parameters:
- PRE DELAY: Essential for keeping bass tight while adding space to leads
- REV TIME: The heart of any reverb, adjustable from 0.3 to 99 seconds
- HI-RATIO: Controls high-frequency decay as a proportion of overall reverb time
- ER LEVEL: Early reflection level (0-100), crucial for reverb character
The “Well Made” LCD Display
Even in 2025, the Rev500’s graphical LCD feels advanced. When adjusting parameters, the display shows visual representations of the reverb envelope. Seeing the decay curve change in real-time helps me understand exactly what each adjustment does to the sound. Even some modern Reverb VST’s don#t show you that
The program information display shows:
- Program type (HALL, ROOM, PLATE, SPECIAL)
- Program number and title
- Memory area (PRESET or USER)
- Effect type (REVERB, REV→GATE, REV+CHO, etc.)
MIDI Integration Excellence
The Rev500’s MIDI implementation is comprehensive:
- Program Change: All 100 presets accessible via MIDI
- Continuous Controllers: Real-time parameter control via MIDI CC
- Bulk Dumps: Complete data backup and restore capability
This is one thing I want to experiment with with my Novation LaunchControl XL Midi Controller
Advanced Features and Internal Parameters
Beyond the Front Panel
While the four front-panel controls handle 90% of the needs, the Rev500’s internal parameter editing unlocks professional-level control. Pressing the UTILITY key accesses parameters like:
Common Parameters (available on all effect types):
- LO-RATIO: Low-frequency reverb time (0.1-2.4)
- HPF/LPF: High/low-pass filtering for frequency shaping
- DIFFUS: Spatial spread control (0-10)
Effect-Specific Parameters:
- DENSITY: Reverb density for REVERB types (0-100%)
- GATE LVL: Threshold for gated reverbs (-60 to 0 dB)
- SPEED/DEPTH: Modulation controls for CHORUS/FLANGER types
System Functions That Matter
Input/Output Configuration: The Rev500 handles both stereo and L-MONO input modes. For my mono Model D, L-MONO mode processes the single input through both reverb channels, creating natural stereo spread.
Effect vs. Effect+Direct: The OUTPUT MODE setting lets me choose between effect-only output or blended effect+direct. For most applications, I use effect+direct because I don#t use a mixer in my setup.
Buying the device on eBay
My Buying Experience
I found my Rev500 on eBay Germany from a seller in Hamburg. The listing showed a cosmetically “like new” unit, the LCD was clear and all buttons appeared responsive. The seller mentioned it was from a recording studio closure.
Total investment:
- Rev500 unit: €60
- Shipping: €7
- Total: €67
Condition
The unit arrived exactly as described. To be honest it looked just as new. The four encoders also had a very strong resistance as if no one used the in the last 20 years. Unlike many people would thing those 20-bit converters deliver clean, quiet signal with no dropouts or noise issues.
What to prioritize when buying:
- LCD display clarity (mine has zero dead pixels)
- Button responsiveness (all controls work smoothly)
- Clean audio path (no crackling or intermittent connections)
What doesn’t matter:
- Cosmetic condition (it’s going in a rack anyway)
- Original manual (available as PDF from Yamaha website)
- Original packaging (unnecessary for functionality)
Comparing Software vs. Hardware Workflow
The Software Alternative I Abandoned
Before the Rev500, I tried software reverbs but in my opinion they make sense with SOFTWARE SYNTHS!
Because why are you buying analog synths with no patch memory to tweak away when you send everything through your DAW with a software reverb.
The workflow problems were insurmountable:
- Record dry signal to DAW
- Add plugin and adjust parameters with mouse
- Render to hear final result with other hardware
- Start over if changes needed
The Rev500 Advantage
Hardware reverb eliminates all workflow friction:
- Plug in synth
- Select program with single button press
- Adjust parameters while playing
- Hear final result immediately
The zero-latency processing means I can play through the Rev500 in real-time without any timing issues. The immediate tactile control keeps the creative flow intact.
Sound Character: Why “Digital” Works with Analog
The Character Debate
Many reviews criticize the Rev500’s “metallic” character, but this actually works perfectly with analog synthesizers. Here’s why:
Analog synths produce inherently warm, sometimes muddy tones. The Rev500’s slightly crystalline, precise character creates a beautiful contrast:
- Enhances clarity without destroying warmth
- Adds modern sophistication to vintage sounds
- Prevents excessive muddiness in dense arrangements
- Complements rather than competes with analog character
Frequency Response and Dynamic Range
The Rev500’s 96 dB dynamic range handles the full output of analog synths without compression or distortion. The 20 Hz to 20 kHz frequency response captures both the fundamental frequencies of bass synths and the harmonic content of analog filters.
Genre Applications and Creative Techniques
Ambient and Atmospheric Music
For ambient work, the Rev500 excels with HALL programs:
- Large Hall 1 (Program 1) with 15-20 second decay times creates infinite spaces
- Church 2 (Program 10) adds spiritual, cathedral-like atmosphere
- Empty Hall (Program 3) provides the “feel of a large hall with no audience”
The PRE DELAY control becomes crucial here, creating separation between the dry signal and reverb onset for rhythmic interest.
Synthwave and Retrowave
The PLATE programs deliver authentic 80s character:
- LA Plate (Program 53) provides that essential West Coast sound
- Beauty Plate (Program 52) adds the dense, bright character of vintage studios
- Vocal Plate 1 (Program 65) works brilliantly on lead synths
Progressive Electronic
For complex arrangements, I use different reverb programs to place each synth in distinct spatial positions:
- Model D bass: Short room (Programs 35-40)
- Poly 800 pads: Large halls (Programs 1-5)
- Kobol leads: Medium halls (Programs 11-15)
This creates three-dimensional mixes that sound enormous despite using relatively simple gear.
Maintenance and Long-Term Reliability
Build Quality Assessment
My Rev500 shows no signs of wear or failure. The professional construction – metal chassis, quality components, robust connectors – justifies its original $600+ price tag.
The long-life lithium battery maintains preset memory even when powered off. Yamaha recommends battery replacement every five years, and the manual provides clear warning signs (“LOW BATTERY” display) when replacement is needed. The previous owner told me that he already changed the battery a couple of months agho prior to selling this unit.
Connection and Integration
My current signal chain: Synth → Patchbay → Rev500 → Patchbay → AD Conversion → ADAT → Focusrite Scarlett 18i20 → Monitors
The balanced TRS outputs provide clean, professional-level signals with plenty of headroom. The +4 dB/-10 dB level switching ensures proper impedance matching with any interface.
The Value Proposition: €60 vs. Modern Alternatives
Cost Comparison
My total analog synth investment:
- Model D: €200
- Poly 800: €300
- Kobol: €120 (Was a 50€ off deal!)
- Rev500: €60
- Total: €680
Compare this to a single Strymon BigSky (€479) or Eventide Space (€499), and the Rev500’s value becomes obvious. I get professional-quality reverb that perfectly complements analog synths for less than the cost of a premium overdrive pedal.
Feature Comparison
Rev500 advantages over modern units:
- Immediate program access (no menu diving)
- Visual parameter feedback (LCD graphics)
- True stereo processing at budget price
- Professional connectivity (balanced I/O)
- MIDI integration (program changes, real-time control)
Modern unit advantages:
- More reverb algorithms (but often unnecessary)
- Smaller form factor (but I prefer rack mounting)
- Modern reliability (though Rev500 proves reliable)
Final Verdict: The Perfect Analog Synth Companion
Why You Need One
The Yamaha Rev500 completes dry analog synth setups (If your synths are rack based and you like rack synths in general). Brands like Behringer give us incredible synthesis at affordable prices, but they’re missing the spatial dimension that makes music come alive. The Rev500 provides that dimension at a price that won’t break the bank. The Rev500 isn’t just good for the money – it’s exactly what analog synth owners need. At current eBay prices, it’s the no-brainer purchase that transforms your entire setup. Don’t overthink it, don’t wait for something better, just get one. And even if you don’t like it you probably can sell it for the same amount of money and move forward
The Character Match
There’s something magical about the Rev500’s late-90s digital character paired with analog synths. Both have that “not quite perfect” quality that makes them musical rather than clinical. They enhance each other’s strengths while masking each other’s weaknesses.
For €60, you get:
- Professional 20-bit conversion
- 100 expertly-programmed presets
- True stereo processing
- Full MIDI implementation
- Professional connectivity
- Immediate tactile control