The REV500 features the same kind of interconnection flexibility that has already proved successful on earlier products. The rear of the unit carries a fixed mains lead on the left-hand side (as viewed from behind), MIDI and remote control facilities in the centre, and audio inputs and outputs on the right.
The machine can be configured for a mono input (using the left channel socket) or a true stereo input. Connections are via a pair of XLRs or quarter-inch jacks, both wired for balanced signals, although the jack sockets will happily accept unbalanced leads too. A slide switch adjacent to the connectors determines input sensitivity to accommodate professional levels at +4dBu or semi-pro at -10dBu. The output side of the machine is similarly equipped with XLRs and jacks, again both balanced and with selectable output levels. There is no provision for digital interfacing.
Other connections include the obligatory pair of MIDI sockets, and a jack socket for an optional footswitch. The system may be configured such that the footswitch either recalls the next program memory or mutes the reverb output.
The internal analogue-to-digital conversion processes are carried out to an extremely high standard, with 64x-oversampled 20-bit A/Ds and 8x-oversampled 20-bit D/As (operating at 44.1kHz). As you might expect, these converters ensure that the REV500 is very quiet and the reverb tails descend smoothly to the point of silence.
The quoted specifications are all very respectable: frequency response flat between 20Hz-20kHz (within 3dB); dynamic range of 96dB; and distortion less than 0.03%. The only thing that might cause concern is the quoted output impedance, which the handbook claims to be 150k(omega)! I'm sure that this is a simple misprint and that the 'k' symbol was added by mistake -- in any case, I certainly experienced none of the interfacing problems that would be expected with such a high source impedance.