It might sound like a throwback to Blake's Seven and it may look like just another 1U rack-mounting unit, but the Vesta Fire SF100 Space Commander is rather more than it appears.

Before you groan at the prospect of yet another twin chorus/flanger unit, hold your judgment as there is more to this one than meets the ears, not least because it offers longer delay times and better frequency response than superficially similar analogue units.

Designed with both professional and semi-professional users in mind it has +4dB (balanced) and -10dB (unbalanced) inputs and outputs, signal treatments ranging from simple double tracking to extremely rich chorus together with stereo output from a mono source and independent channel operation. The Space Commander excels at widening the acoustic perception of a sound source.

When the same sound is heard from more than one source, the intensity of those sources and the intervals between their arrival at your ears determine their location. This 'trickery', has nothing to do with Fred Hoyle's Expanding Universe Theory, but much more to do with discoveries made by a certain Herr Haas. A more detailed description can be found in Simon Croft's review of the TC Electronics chorus/flanger unit in the April 1986 issue of H&SR.

Plan of Attack

The front panel is subtly finished in two shades of grey, lettered clearly in white: a distinct improvement on some early Vesta styling. On first encounter, I was bemused to find that most of the controls for the two channels are unconventionally laid out in a mirror image rather than identically. That is, the orders of the pots are in mirror image, not the direction in which you turn them.

The first item on the left, in the input section, is an Input Mode button which selects either a mono input mode generating a stereo output, or Dual Mode when each channel operates (almost) independently of the other. A red LED indicates the current setting. Next to it is a dual pot for Input Level.

The rest of the panel is devoted to the two sets of channel controls, and I'll cover the independent parameters available. First on channel A is a button to select effect On or Off (bypass), accompanied by another red LED and followed by an output level pot.

Next is a Delay Pan control that allows you to achieve a balance of the treated signal between outputs A and B. This performs a dual function of inverting the phase of the signal when pulled away from the panel... into a click stop position. This feature is useful when using mono source and generating stereo with the unit's two channels set to similar modes, thus increasing the sense of depth. Here the idiot reviewer confesses confusion over the Delay pan controls when first setting up the SF100. Both channels were set hard to one side, but the hoped for effect didn't materialise and so I wondered whether I had a duff unit. Reality dawned and I came down to earth when the panel layout became familiar.

"The vast number of potential combinations of settings leads to much enjoyable experimentation and this is rewarded by some satisfying results."

The adjoining pot determines the subjective richness or width of the chorus effect and the last individual channel control is the Mode selector, detented for each of the five positions. The manual describes these as Mode 1, ambience; Mode 2, chorus (high); Mode 3, chorus (normal); Mode 4, chorus (low); Mode 5, short delay. These presets determine the time delays, the short delay being the longest at 62.5mS. Mode 1 being 1 mS. Occasionally, the fact that these are not continuously variable may be a limitation, but in use they appear to be well chosen. Each channel's mode selection is displayed on a bright green seven segment LED and these are exceptionally easy to read in a normal environment and the more so in a dimmed control room. Featured in a corner of each readout is a single dot LED which lights as the LFOs alternately peak, so giving visual indication of the rate of sweep.

Above each readout is a series of LED input level indicators, four green registering -30, -20, -10, and 0dB and a red for +6dB. These are also mirror images of each other, with channel A's -30dB on the left of the centre of the panel, and channel B's on the right. Consequently when monitoring input gain they peak in opposite directions.

The channel B controls, as mentioned earlier, are arranged in reverse order to channel A. So, having re-read the previous paragraph backwards, let me inform you of the next pot which simultaneously controls the modulation rates of both channels' LFOs, and is the only area where complete independence of the channels is not possible. The speed is variable over 100Hz to 10kHz. Finally there is a power switch and associated red LED which completes a very tasteful control panel.

The rear panel contains the captive mains lead, adjacent to the fuse holder, on the left. A ground lift is provided, which on new units is switched in and sensibly, cannot be changed over without removing a tamper proof tab.

A pair of ¼" mono jack sockets are provided for remote control of the Space Commander's effects. Since the channels are capable of independent operation, remote control is also independent. Alternatively, by solely using channel A's remote socket, both channels are brought under single switch control. Useful for live work and for that momentary effect in the studio where no hands are free.

An untreated signal appears at the outputs when selected by an on/off switch, the level being varied by the input applied to the unit, balance between untreated and effect signal being achieved by changing the individual effect output levels of each channel. Next to this is a pan pot for the untreated signal and this only operates when the unit is set for mono in/stereo out mode.

The outputs are each available via unbalanced ¼" mono jack sockets for -10dB level, or balanced XLRs for +4dB level. The inputs follow the same argument, channel A's input being used when mono in/stereo out mode is used.

The Operation

To achieve rewarding results from the Space Commander, first leave the operating manual in the box; most of the explanations tend to confuse rather than enlighten. Hands-on is undoubtedly the best way to get to grips with it.

The large range of effects are useful on any sound source you choose, limited by taste or imagination. Mode 1 enriched an acoustic guitar rather well, and in a mix of other instrumentation helped give it a sense of space and greater identity without being unduly obtrusive. In fact this is an area that spatial expansion fulfils very well, helping give a greater identity in the stereo spread and mix. For truly radical treatment, try Mode 5 with maximum delay on an acoustic guitar with varying amounts of modulation depth.

For vocal work it is outstanding, whether applied to singing or speech. The more gentle applications of Mode 1 or 2 create a warm presence which need not be dominant, thickening the voice without necessarily increasing level. Judicious use of the Delay pan gave a wonderful ambience. In more extreme use there is the now familiar drainpipe warble, or more subtle flanging which is excellent.

"For vocal work it is outstanding, whether applied to singing or speech."

The more standard applications for electric guitar or synth work are very good, but I thought the dimension created with a completed mix of several synthesiser parts with percussion awesome. The track had been completed with ambience and I felt it would be completely over the top to apply any further treatment. Wrong! The SF100 added superb depth without sounding unsubtle. With the sweep rates of the LFOs set fairly slow they reached their cross-over points and achieved a sensational effect. Words can't express this adequately, but the experience is like reaching the point of equilibrium on a big dipper when on a crest before rushing downward, and the stomach doesn't quite know whether it is on the way up or down. A severe and delicious disturbance of the grey matter occurs.

Used in a commercial voiceover, the edge it gave to a richly layered production was invaluable. It has a generous overload margin, the +6dB indicators lighting momentarily without audible distortion. When overdriven it is very obvious, but it's easy to find the optimum input level to optimise quiet operation. One severe side effect on voice work though is a dislike of sibilant sounds. Even those esses that were perfectly acceptable on the dry signal suffered noticeably, with distortion being a real problem whatever input levels were used.

The vast number of potential combinations of settings leads to much enjoyable experimentation and this is rewarded by some satisfying results. By applying feedback to an input on a spare desk channel, the result can potentially blast any eardrums in the vicinity, and would be ideal for a sci-fi production.

Conclusion

There can be no doubt that the Space Commander is a genuinely worthy item of outboard gear. The theory of processing in the digital domain is that it should sound cleaner than an analogue unit. Without an A/B comparison with the competition this is difficult to evaluate, but quantization noise is absent and only the sweep of the LFOs are audible when no input signal is present. The unit's quoted frequency response through the effect is 40kHz to 15kHz (± 0dB) and because manufacturers often list specifications with wider parameters (eg. +1.5dB, -1.5dB) this appears to be usefully flat. The need to boost higher frequencies to achieve adequate sounds, only leads to increasing system noise in less able units. Vesta Fire need to consider the problems experienced with sibilant sounds, but with the extended delay time available, and a recommended price of £620 including VAT, the Space Commander should find itself in many racks.

I can make no claims for it being light years ahead of the competition, but it has a great deal of versatility offering good serious effects... and some funny ones.

Further information can be obtained from: Johnny & Ivor Arbiter Ltd, (Contact Details).