What it is and what it was built for
The Publison Infernal Machine 90 is a 3U rackmount analog/digital multi-effects processor built for video post-production. It combines delay, echo, harmonizer, sampler, reverb, transposition, time compression/expansion, and DVR-style long-sample playback.
How it works, in terms a player would use
It runs as a 3U rackmount unit with XLR I/O, MIDI In/Thru, and SMPTE timecode jacks. Programs are edited directly on the hardware — no external editor exists. Timecode sync lets users trigger delays, reverbs, harmonizer patches, or samples in lockstep with video. Sampling, pitch/time shifting, inversion, and time compression/expansion are all performed in real time.
What it does better than anything else
It handles timecode-synchronised triggering of sampled sounds, reverb, delay, and harmonizer effects better than any contemporaneous unit cited in the material — especially when paired with long sampling and time compression/expansion for film/video workflows.
What it does badly
It does not support external editing or patch libraries. Its interface forces all programming on-device, limiting workflow speed and recall. It offers no stated stereo imaging control, no user-accessible filter parameters, and no indication of latency, headroom, or dynamic range limits.
What people made with it
People used it to program and trigger effects — sampled sounds, reverb, delay, harmonizer — in tight synchronisation with image, fading effects one after another in film and video sound mixing.
Who should use it, and who should not
Video post-production engineers who need timecode-synced, self-contained multi-effects with sampling and DVR functions should use it. Musicians seeking flexible real-time sound design without video sync should not.
Is it worth your time
It is worth your time only if you work in video post-production and need timecode-synced multi-effects with long-sample DVR functionality built into one analog/digital rack unit.
