Vintage Realistic 32-1110 Electronic Reverb unit, made by Radio Shack in the 1980s. Not actually technically a "reverb" but rather an analog mono bucket-brigade delay (BBD), highly sought after for its unique, gritty character. Also can be used as a self-resonating feedback generator for sampling, sound design, noise effects, and countless other applications. Includes 9V DC adapter, and can also be powered by 6 AA batteries(not included). Includes controls for microphone input volume, delay(feedback), reverb(time), and depth(amount), and features 1/4" TS microphone input and output, and mono RCA coaxial line input and output.
Tested in house and works as expected. Unit is in excellent, well maintained condition, clean and relatively free of scratches or blemishes. Sliders could use some cleaning and lubricating with Deoxit D5/F5 spray, but are completely smooth and usable in their current state.
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More info from effectsdatabase.com:
"Summary:
The Realistic Electronic Reverb 32-1110 is not a true reverb unit but a tabletop mono analog BBD delay. Due to its gain function and possibly the combination of the low headroom of its BBD chip and choice of transistors, it has a unique overdrive/fuzz sound. Where the sound falls on that spectrum seems to depend on the age, condition, or production run of the individual unit. Additionally, the unit was equipped for both 1/4 inch mono in/out jacks (from low-level sources) and RCA in/out jacks (from high-level sources). In order to produce stereo delay, two separate units must be used. The original manual specifies that the unit was for use with instruments, such as electric guitar and synthesizer, microphones, public address amplifiers, amplifier/receivers, and tape decks. This wide range of uses accounts for the two types of inputs in the unit, which was unusual for effects units of this size and type.
Design and controls:
As it was not designed exclusively for guitar, it does not have footswitches or a bypass, nor does it have footswitch inputs. Instead, it is controlled by four sliders: Microphone, Delay, Repeat, and Depth. Each slider is numbered from 0 at the bottom to 10 at the top.
Microphone is actually a gain control which boots the source signal. Generally, if placed up to 4, the signal remains undistorted. However, if used past 4, the unit produces a noticeably clipped sound, getting progressively more distorted the higher the slider is pushed. The relative intensity of the distortion varies with individual effects units. It seems unlikely that this distortion was an intentional design feature but it is one that makes the 32-1110 stand out among other BBD delay units. If the sound source is a vocal microphone or tape deck, this distortion is a problem, but if the source is a guitar, keyboard, or drum machine, this distortion is an asset. Also, the distortion sounds different depending on whether the Mic In or Line In is used. Additionally, the delay effect stays at the same level whether or not the Mic slider is high or low. If the Microphone slider is pushed to the top, the signal will get louder and more distorted, but the delay effect will stay at about the same apparent level. The Microphone slider, however, is not really a blend, mix, or wet/dry control, as there is no way to totally turn the delay effect off using Microphone: to turn the delay off, the user must set the other three controls to zero. In this case, just using Microphone and not the other controls, the unit produces a midrange-boosted overdrive. In general, this stage of the unit behaves very much like an overdrive or fuzz effect: it “cleans up” responsively in combination with a guitar’s volume control.
Delay controls the length of time that the effected signal is restarted after the original signal is played. The shortest delay time at the low end of its scale allows for a thickening effect but without the detuning effects of a chorus if the other controls after it are used at the low end as well. The longest delay time allows for a noticeable simulated sound reflection but it is usually not long enough for a distinct musical phrase to be heard in its entirety. Moving this slider during playing creates a sliding synth-like sound.
Repeat controls the number of times the effected signal is played again. When all the way up to 10, a spring-like sound is produced.
Depth controls the loudness of the effected signal in relation to the original signal. At 10, the delay is nearly as loud as the uneffected sound.° At 0, no delay can be heard. This control is different from other BBD-based modulation effects marked as “depth”: a depth control usually changes the detuning of the effected signal, not the level.
Electronics details:
The 32-1110 used Matsushita/Panasonic MN3207 BBD chip paired with the Panasonic MN3102 clock chip.° ? The 32-1110 was capable of 5ms to 95ms delay times. * ° The low headroom of the 3207 tended to clip the signal but is one aspect of the 32-1110 distorted sound. °° This is the same type of BBD/clock chip combination used in many other brands and types of effects pedals, such as Boss’s VB-2 Vibrato°°° ` and Boss’s BF-2 Flanger.`` However, the 32-1110 is very different from many of them due to its set of controls and individual idiosyncrasies.
The 32-1110 uses a total of six 2SC828 silicon transistors. Also, it uses two AN6552 IC op-amps.° Both the transistors and the op-amps were also manufactured by Panasonic. The 2SC828 is a transistor used frequently in fuzz pedals, most notably in some versions of the Fulltone 70 (a Fuzz Face-style effect).†
The unit is powered by six AA batteries or a 9-volt center-negative power adapter. Holding the Battery Check position of the power switch causes the red LED to light, and becomes dimmer if the batteries are weak. If the unit is plugged into an adapter and the Battery Check is activated, the light will remain a bright red."