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.