Using a Dr. Z EZG head to power the
SRV-212, I plugged in several different guitars
(including a Taylor T3, a Hamer Newport, and
a new Fender Eric Johnson Signature Strat)
and was quickly digging the swirling textures
this box produces. The range controlled by
the Slow knob is where you get chorusing
effects, which are subtle at the lowest settings,
but become lush and enveloping as the
knob is turned toward the halfway mark.
From here on, the depth of the chorusing
stays about the same as the modulation speed
is increased to a fairly rapid pulse at the maximum
setting.
With a press of the Speed switch, the
SRV-212 ramps up to whatever setting you’ve
preset with the Fast control. This higher rpm
range produces the juicy, dimensional throb
of a classic rotary speaker, embellishing everything
you play with halos of chewy, Hammond
organ-like tonalities that are perfect
for channeling Steve Ray or Brother Jack
McDuff. Hearing these sounds created by a
real rotary speaker makes you realize how
much of the real Doppler effect you miss
when using rotary simulators, and being able
to switch back and forth between the slow
and fast speed ranges creates textures that
are just impossibly cool. Depending on the
Transition control setting (which doesn’t make
a huge difference), the speed winds down
quickly when you hit the Stop button, allowing
the forward-facing rotor to deliver the
sound toward the audience. So, with its ability
to function as two cabinets, the SRV-212
makes a lot of sense for players who need to
travel light, but also want the real deal when
it comes to rotary sound.