![]() ![]() ![]() The two units, or blocks, can be patched in any order, either in series or parallel, and the routing allows for the processing of two mono signals rather than one stereo or one mono signal, should this be deemed useful. I like to think of it as the equivalent of two dedicated effects units in one box. Unlike its more costly cousins, the forgettably named (excuse me while I turn to the front page of the manual to remind me what it's called) HR‑MP5 isn't a dedicated single‑effect unit, but neither does it offer the degree of simultaneous effects processing we've come to expect from contemporary multi‑effects processors. The other, reviewed here, is designed to supply a more general need, both live and in the studio. ![]() One, the HR GP5, is intended for guitar use, and may well be reviewed by us at some time in the future. Sony's DPS series dedicated reverb, delay and modulation effects attracted encouraging comments from all quarters - but I never met anyone who actually bought one! However, far from being disillusioned by the modest sales of these otherwise fine products, Sony have gone on to develop a pair of half‑rack multi‑effects processors which incorporate some of the best features from all three machines, yet cost little more than half the price of any one of them. What can Sony's new effects processor offer that its competitors don't already have? Paul White took the new Sony HR‑MP5 into his studio to find out. ![]()
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