Delicious Audio #3 - Delay Pedals, Best Pedals of 2019, StompboxBooth at NAMM 2020

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Issue #3 Vol. #1

Winter 2020


the stompbox blog/video aggregator

The Delay Issue

+ NAMM 2020

Stompbox Booth!






What’s Delicious Audio?

Delicious Audio is a blog entirely focused on stompboxes, whose content

is driven by the videos published on YouTube by the most reputable videographers

shooting demos of guitar effects.

The team that runs it also organizes the Stompbox Exhibits, free guitar

pedal parties, with editions in Brooklyn, Austin, Los Angeles, Toronto and

Montreal, and the shared Stompbox Booth at the NAMM shows.

In 2018 we have merged the Stompbox Exhibit with the Synth Expo (which

we started in 2014), since the formats are increasingly complementary.

Why an Aggregator?

The aggregator format allows us to amplify the content posted by expert

in the stompbox sector, while allowing us to be at once informative,

neutral and supportive of both the content makers and the community of

pedal builders. The “aggregation” of content is not automatic but curated,

which allows us to retain a voice through the website’s blog posts.

Does Delicious Audio Create Any Original Content?

Yes it does. We regularly work on in-depth articles focused on a specific

kind of effect. Some of our most popular pieces are about the “Klon

Klones”, ambient reverbs and Uni-Vibe pedals – you can easily find these

articles through generic Google searches.

What About the Magazine?

The issue you are reading is born on the ashes of The Deli, a magazine we

started in 2004 that was focused on emerging NYC bands. After we debuted

the Stompbox Exhibit in 2011 and then the Synth Expo in 2014, these

shows allowed The Deli’s print issue to survive until the winter of 2019,

when we decided to convert it into the publication you are reading now.



Katana MkII takes the acclaimed Katana guitar amp series to the next level,

turbocharging the core feature set with more sounds, more effects, and more versatility.

• Five amp characters, expanded with five newly voiced variations.

• Five simultaneous onboard effects, each with three variations.

• Customizable with over 60 effects types in BOSS Tone Studio.

• Power Amp In for preamps, modelers, and multi-FX.

• Stereo Expand out for dual amp setups (available on 100-watt models only).

• New effects types, updated editor software, and more.




Issue #3 Vol. #1

Winter 2020


the stompbox blog/video aggregator























Advertising Inquiries:


If you like delay, you were born in the right century. Humans have been

making music for a very long time — some say as many as 35,000

years. But none of the gazillions of songs and musical pieces written

between the dawn of humanity and the 1960s had a “delay effect”

in it! Of course, echo could be experienced in nature before then, but it was

impractical for musical purposes (unlike reverb, which is achievable by placing

the sound source in an empty room). Delay is, therefore, a modern commodity,

and If it’s true that it’s not the only sound effect born in the last century, we’d

be hard-pressed to deny that it’s one of — if not THE — most useful, fun and

inspiring of them all. How lucky are we?

Those who, more specifically, love delay pedals, are even luckier: the decade

that just ended saw an explosion of devices and new technology that made this

effect better sounding and more tweakable and portable than ever.

In this issue, we are telling the story of delay, with a focus on guitar pedals. It’s

a story where technology, engineering, vision, and design, are channeled into

tiny boxes aiming at inspiring musicians like you. We hope that these pages will

help you find the next source of inspiration — while informing you about this

wonderful effect’s history.

Paolo De Gregorio

P.10 NAMM 2020











Delicious Audio @ NAMM 2020!

Once again, we’ll be at Winter NAMM with two booths hosting several emerging boutique pedal builders. In this section,

we highlight their latest releases. If you are going to NAMM, don’t forget to stop by booth #5046 and #3423!


Dr. Robert

A recreation of the Normal

channel of the Vox UL730,

made famous by the Beatles.

Modeled after one of the few

originals, this pedal employs

a custom FET saturation engine

to mimic the attributes

of the amp’s tube power amp

section and the amp’s peculiar

Mids knob. The second

footswitch engages an extra

saturation boost.



The Element is a pedal that

takes spring reverb back to its

very essence: vibrating metal

springs stimulated by a guitar

signal. Nothing artificial here.

The spring tank, available in

different sizes, is conveniently

detached from the “control”

stompbox, which includes Low

and High EQ, Dry/Wet knob

and a Spring Saturation switch.

Birmingham Sounds FX


Designed to be a high quality

“wide range” overdrive/distortion,

this is a “Swiss Army

Knife” kind of pedal, offering a

variety of tones, from a slight

hint of crunch all the way to

huge distortion. A two-band

Baxandall EQ allows for tone

shaping and fine-tuning to any

amp or environment.

Dry Bell

Unit 67

An entirely analog circuit with a

highly versatile EQ set including

a Rangemaster-inspired

mid control, a boost, and

1176-style one-knob compressor

- all in one extremely

practical compact guitar pedal.

It is a versatile multi-functional

tone shaping tool that will improve

almost every tone to the

next, harmonically rich level.

Dusky Electronics


It made the cover of Premier

Guitar’s “Gear of the Year”

issue. In his review, Charles

Saufley said: “If you love the

mainline rush of guitar into a

piping-hot English amp, you’ll

love Hypatia’s aggressive but

articulate personality. Spend

enough time with this pedal

and you’ll find it’s capable of

much more than that.”

10 delicious audio Winter 2020

Epigaze Audio


It blends an ambient pad or

drone under the guitar signal.

Select the desired song

key and easily navigate the

internal library of pad types

via MIDI or the onboard soft

switches. Add a volume pedal

in the effects loop or utilize

the onboard side roller knob to

fade the pad in and out.

Frost Giant Electronics


A distortion designed with one

thing in mind: pure saturated

distortion, but with breath and

heft you can feel in your gut.

It adds a carefully fine-tuned

boost circuit around the company’s

Mountain distortion.

With the boost pushing the

Mountain, you can blend both

gains and use the Pre to add

even more saturation.

KMA Audio Machines


This “Spatial-Temporal Modifier”

is KMA Audio Machines’

first step into the fully digital

realm. It’s a tap tempo-enabled

delay + reverb with modulation,

octave and filter options heavy

in features (and knobs, and

switches…). All in all, this versatile,

dynamically modulated delay+reverb

offers creative players

an exciting mini-playground

for sonic experimentation.

namm 2020 stompbox booth #5046


Mistery new product

by Meris! ?

Mojo Hand FX

Dream Mender

Echo / Chorus / Vibrato based

on the classic late ’70s DMM

- but much smaller and with

many other improvements:

twice the delay time, blend

knob, clearer repeats, longer

feedback, and a more pronounced

vibrato effect. It has

a SPIN DSP based processor

which will never need the

originals’ costly and frequently

needed BB adjustments.


Onboard Expression Receiver

It delivers tactile Midi, Expression

and Switch control

onboard to the guitar without

changing its aesthetics or construction.

The guitar is connected

with a stereo (TRS) cable to

the Receiver, which reads the

Controller position and pushpush

switch status and then

controls pedals, amps, amp

modellers and more.

Option Knob

Danger Zone

A Phaser/Tremolo that covers

the industry-standard sounds

for both effects, while also providing

original tones through

their interaction. The tremolo

depth and rate parameters

are set up with maximum control

over your signal, while the

phaser is jam-packed with

sonic easter eggs. Designed

for easy foot control over

parameters for maximum real-time

expression possibilities.


Communication Breakdown

It combines a pair of legendary

fuzzes in one stompbox.

“Channel A” provides a warm

and dynamic 2-transistor Tone

Bender MK1.5-inspired circuit

with slightly hotter silicon

transistors; “Channel B” delivers

hard-rockin’, midrangey

tones à la Tone Bender MKII.

Stacked them or run them

separately and use Bias knob

and dip switches to tune them

to your tastes.

Spiral Electric FX

White Spiral

A dirty boost with 18v internal

operation that exploits

various JFET circuits inspired

by Jimmy Page’s use of the

Barcus Berry Preamp. It uses

a dual JFET for amplification

and the Grit, which is a combination

of JFET and Silicon

clipping found in the company’s

Yellow Spiral Drive, but

with a user-definable location

in the circuit.

Vs Audio Effects


A stereo BBD analog chorus

based on the re-issued

version of the MN3207 delay

chip. Offers six different presets

and a delay control that

sets the center delay time for

the modulation. Each knob

is controlled by a small microprocessor

while the signal

stays 100% analog. This allows

to save and recall multiple

modulated tones instantly.

Westminster Effects


A true sonic reproduction of

the Bixonic Expandora, the

Exegete provides a vast array

of tones, from clean crunch all

the way to over-the-top fuzz.

Zander Circuitry


A multi-modulation pedal

boasting 8 unique takes

on classic effects including

chorus, flanger, phaser and

tremolo. With five on-board

presets, tap tempo with subdivisions,

full expression control

& MIDI, the Junipero offers

incredible versatility that fits

right in with anyone’s rig.

delicious audio Winter 2020 11

namm 2020 stompbox booth #3423

DSM & Humboldt Electronics


It features a true analog preamp

that recreates in fine

detail the most popular clean

channel preamps, a power

amp sim and dual independent

Cab sims with spread

control. Stereo FX loop, headphone

amp with Aux input for

monitoring or silent practicing,

two XLR DI out, and two bypassable

¼-inch jacks round

up the features.

Electric Eye Audio

Mud Killer

A pedal that delivers tons of

gain and definition by cutting

selected frequencies before

the signal hits the overdrive.

GØRVA Design

A parts company focused on

providing high-quality components

specifically designed

for pedals and audio. GØRVA

designs some of its own parts

based on research on metal’s

physical and electrical properties.

Their catalog includes

enclosures optimized for pedal

use, military-spec metal film

resistors with lower noise and

tighter tolerance, and now

also all sorts of potentiometers,

switches, jacks etc.

Lang Amps


An original analog design with

a unique clip control for each

half of the signal that allows

the even and odd harmonics

to be adjusted independently

of the gain control. It can

be adjusted for asymmetrical

or symmetrical clipping,

producing tube amp tones.

The OD and the output boost

sections can be used independently

or in series.

Old Blood Noise


An ambient machine offering a

newly voiced reverb with harmonic

tremolo, a modulated

delay, and a reverse section

selectable between normal

speed or double speed activated

with a footswitch for momentary

or latching operation.

The placement of the two effects

can be changed through

the Order toggle switch.

12 delicious audio Winter 2020

West Co Pedals

Grease Juicer

Inspired by funk drummer

Curt Bisquera, the Grease

Juicer - West Co’s first signature

pedal - is a unique


Filter with Sidechain trigger.

The detector and audio circuits

are specifically tweaked

for bass (green knob and LED

version) or guitar (orange knob

and LED version). If you like

your funk a little nasty, this is

the pedal for you.

About the Delicious Audio’s

NAMM Stompbox Booths

Delicious Audio organizes


pedal (and synth) popup

events in several

North American cities

and, starting 2020, also

in the UK (see page 2 for

a full calendar).

At both NAMM shows we give the opportunity for smaller pedal

builders to attend these important musical instrument conventions

at a fraction of the cost, through the shared Stompbox Booths.

Some established builders started attending NAMM through our

shared booths, including Red Panda, Meris, Old Blood Noise

Endeavors, Fairfield Circuitry, and DryBell among others. Bigger

manufacturers like EarthQuaker Devices, Walrus Audio,

Source Audio and Chase Bliss Audio occasionally take part in

our booths as well.

Pedal companies interested in reserving a spot for the upcoming

Summer NAMM (Nashville, July 9-10) and Winter NAMM

2021 can reach out to paolo.dg@thedelimag.com.

The Best Guitar Pedals

of 2019

According to

the Web Gurus

Although January, in the pedal world,

rhymes with “NAMM” (with its bountiful

promise of new “stompable” devices), the

first month of the year also represents an

opportunity to look back at what stood out during

the previous twelve-month period.

As usual, on our blog, we aggregated the “Best of

2019” lists compiled by the most popular sites and

videographers covering pedals — what better way

to state with absolute confidence which stompboxes

made a splash than listening to the opinions of all the

experts? Of course, some more lists might be published

after this magazine’s print deadline, but here

are the ones we found so far: Demos in the Dark ,

Dennis Kayzer , EytschPi42 , Guitar.com, Guitar

Partners, Jay Leonard J, Living Room Gear Demos

, Music Radar , The Pedal Zone , Reverb.com ,

Rhett Shull , Thomann. You can easily find these

videos and web pages by Googling “Best Guitar

Pedals 2019.”

One trend we noticed compared to past years is

an increased fragmentation in these experts’ pedal

choices. This makes sense if we consider that

many of the newer manufacturers born during the

post-2010 “pedal builder explosion” are now in

their prime, and coming out with designs that are

original, great sounding and solidly built. On the

other hand, some of the more established companies

seem to have become slower in their launch

of new products, see — for example — Strymon’s

release-less 2018 and Wampler’s and Empress FX’s

prolonged “dry spells,” due to the perfecting of ambitious

(and therefore complicated) digital pedals.

While this fragmentation allows us to highlight more

pedals, the space limitations of print won’t allow us to

do them all justice, so, for a more thorough article on

the best pedals of 2019 we refer you to our online blog,

where you’ll also find the rules adopted for the scores.

Please note: some pedals were omitted from this list because

of conflict of interests highlighted by the authors.

14 delicious audio Winter 2020



Walrus Audio


The Slö was the best selling

pedal on Reverb.com in

2019, it was the top choice

for shoegazer videographers

Pedal Partners and also made

the Best of 2019 lists for

EytschPi42 and Guitar.com.





The Volante was chosen as

the Best pedal of 2019 by

Thomann and Guitar.com and

was #3 in Music Radar’s list.



Updated list here:


EarthQuaker Devices


The Plumes was the #2 pick in

the Thomann and Guitar Partners

list and was also included in the

Reverb.com and Guitar.com Lists.













Top choice for Music Radar and

placement in EytschPi42 list.



Chase Bliss Audio


2nd best selling pedal on Reverb.

com and one of the Living Room

Gear Demo’s favorites.



Empress FX


Top choice for Demos in the Dark!





Second place in both Thomann’s

and Jay Leonard J’s lists!





The Pedal Zone’s #2 +

in Dennis Kayzer’s list.



Crazy Tube Circuits


Jay Leonard J’s

favorite pedal of 2019.



Dr. Scientist KMA Audio Machines



Dennis Kayzer’s top pedal! The Pedal Zone’s top pick!





Two notes

Cab M

It made three lists:

EytschPi42, Jay Leonard

J and The Pedal Zone.




Attack Decay

3rd best selling pedal of 2019

on Reverb.com, it also made

the Music Radar’s list.



2nd favorite pedal of 2019

for Guitar.com.



2nd best for

Music Radar.

Greer Amps


#2 of 2019 for

Rhett Shull!



Feathured in Dennis

Kayzer’s and The

Pedal Zone’s lists.

#18 REVV G4 Drive, Yellowstone FX Fauna, WMD Geiger Counter Pro, Toneking Ironman II Mini

#22 Alexander Pedal Marshmellow, Anasounds Element, Becos CompIQ, BOSS SY-1, Carl Martin Panama, Caroline

Sommersault, Champion Leccy The Woozy, Ear Fuzz FX Buzzaround, EHX Parallel Mixer, Electrofoods Ultd Eye of Ra,

Farm Pedals Fly Agaric, Fender Pinwheel, Fender Tre-Verb, Hamstead Subspace, HB Thunder 99, Hudson Broadcast

AP, JHS Pedals Cheese Ball and Colour Box 2, Keeley DDR, Keeley Synth-1, King Tone Duelist, KMA Logan Drive, Life

is Unfair Synaptic Cleft, Mad Professor Supreme, Mask Audio Electronics No Octave Fuzz, Mastro Valvola LEM, Matthews

Effects Astronomer, Mooer Ocean Machine, Ohmless Detonator, Old Blood Noise Rever and Minim, Origin FX

Revival Drive Compact, Pelican Noiseworks / Spruce FX Pelitaur GE V2, Pine Box Customs Sirens, Red Panda Particle

V2, Redbeard Effects Red Mist Mk IV, Seymour Duncan Dark Sun, SolidGoldFX Lysis, Source Audio Collider, Thorpy FX

Deep Oggin, Heavy Water and The Dane, Vertex Nyle, Walrus Audio EB-10, Wampler Terraform, Wren & Cuff De La Riva

2019 Hot Collaboration Action

With the pedal community tighter than it’s ever been, more and more companies are seeking to collaborate with

their contemporaries to fuse different engineering strengths into a cohesive (and exceptional) product. Often sold

as limited runs, these devices represent opportunities to elevate the scene of effects as a whole (and to help each

other out with cross-promotion). Let’s take a look at the most intriguing collaborations of 2019!

Chase Bliss Audio &

their many friends

Maxon + EarthQuaker, Keeley,

Catalinbread, Pigtronix

Minneapolis builder Chase Bliss Audio seems to have based

its business model on collaborations: the company released

THREE collaborative pedals in 2019 (while also working on the

ambitious Preamp MkII with Benson): the experimental looper

Blooper with YouTube demoer Knobs, Mark Seel of 3Degrees

Audio and Parker Coons (formerly of DigiTech); The spacey

granular delay/looper MOOD in collaboration with OBNE and

Drolo; and the limited edition CBA version of the Cooper FX

Generation Loss.

Fuzzrocious +

Electronic Audio Experiments

& Electro-Faustus

2019 marks the 40th anniversary of the granddaddy of all overdrive

pedals, the OD808. Maxon (via Godlyke) reached out to

four industry stalwarts to develop their unique take on the venerable

OD808 circuit. Jamie Stillman of EarthQuaker Devices,

Keeley of his eponymous company, Nicholas Kula of Catalinbread

and Dave Koltai of Pigtronix each reconfigured the

OD808 to reflect their approach to design. The original designer,

Susumu Tamura, also retrofitted the circuit with a unique

take of his own. After the modifications were made, Godlyke’s

team modded each one by hand using the specified parts lists,

and as a result, each version is available only in a limited run.

Thorpy FX + Dan Coggins

New Jersey’s family business Fuzzrocious Pedals has also

been active this year with two limited releases. The Maggotor

combines Fuzzrocious’ Baby Furnace gated fuzz with the

Blackfly by Electro-Faustus, a standalone instrument that generates

noise through the vibration of three amplified springs.

The Wicked Jawn, on the other end, marries the Electronic

Audio Experiment’s Model FET preamp with the Fuzzrocious

Octave Jawn, a digital octave up/down circuit.

While you might not know the name Dan Coggins or his company

Dinosaural, you may have heard of his former company,

Lovetone, which was a heavy hitter in the pedal scene. Some

of the company’s goods are among the best pedals ever made,

such as the Cheese Source and Meatball. The Deep Oggin and

the Camoflange are collaborative pedals Dan designed with

Thorpy FX, offering up a chorus/vibrato circuit that strives to

be the ultimate in three-dimensional tonal exploration and a

flanger that updates the classic sound of the vintage Mistress.

16 delicious audio Winter 2020






In 1952, Sam Phillips stumbled upon a sound

so inspiring and so powerful that it would

shape the face of popular music for decades

to come. Deep within the walls of his Sun

Records studio sat Phillips’s collection of tape

machines, conjoined in a way that defied convention

and recommended usage within instruction

manuals. The sound produced by these machines—one

fed into the next—ended up being

colloquially known as “delay.” Phillips was the

only person in the world who had it, and it went

on nearly every one of his recordings.

“Slapback delay” as it came to be called, is the sound of

one repeat arriving nearly instantly after the initial signal

is played. At the configuration of its quickest repeat, the

effect thickened the signal of a guitar. At its longest, it was

a tool used to fill out mixes and make one guitarist sound

like two or more. Because this slapback delay required the

use of two expensive and cumbersome tape units, Sun

Records was essentially the only place to get “the sound.”

Finding it elsewhere was impossible, and finding it on

stage was doubly so.

It wasn’t long before Sun Records became synonymous

with early rock ‘n’ roll, and then so did delay. The next step

was to make delay more accessible to the masses—two

massive tape units was quite a load to schelp about. In 1959,

Ray Butts took care of that with his EchoSonic—the world’s

first portable tape delay unit. Unfortunately for blue-collared

and feeble musicians, the EchoSonic came bundled with a

tube amp, with the two working in tandem as one laborious

piece of kit. Be that as it may, one of Butts’s first customers

was none other than Sam Phillips, who subsequently recorded

Scotty Moore (of Elvis Presley’s band) with it. Butts

created less than a hundred EchoSonic amp-and-delay hybrids,

though the demand far exceeded the supply.

It should come as no surprise that many customers longed

for a delay unit that didn’t include an amplifier, and that

18 delicious audio Winter 2020













“The sound produced by tape machines ended

up being colloquially known as “delay.”

Sam Phillips at Sun Records was the only

person in the world who had it, and it went

on nearly every one of his recordings.”

didn’t fill the back of a U-Haul. Nine full years later in

1961, that wish was granted in the form of the Echoplex.

Developed by Mike Battle for Maestro of Kalamazoo (in

a roundabout way), the Echoplex became the first piece

of attainable echo idolatry that players lust after even to

this day. Unlike the sound that came to be associated

with tape echo—murky, moody repeats—the Echoplex

featured a slightly percussive voicing that sat right in the

spectral sweet spot of many players of the day, and its lineage—including

and especially the first solid-state unit, the

EP-3—proliferated throughout countless genres of music,

from Chet Atkins and Gary Moore to East Bay Ray of Dead

Kennedys and Sonny Sharrock.

The Echoplex EP-3 also started the trend of guitarists using

the preamp section of their preferred echo units as part

of their signature sound, with guitarists such as Lindsay

Buckingham, Eddie Van Halen and Brian Setzer each utilizing

the preamps of the Sony TC-630, EP-3 and Roland

RE-201 Space Echo respectively.

Several pedals have been developed to capture the sound

of the Echoplex, be it the actual tape machine or just the preamp

unit, including the Dunlop Echoplex Delay and Catalinbread

Belle Epoch Deluxe on the delay side, and the Chase

Tone Secret Preamp and ClinchFX Pre on the preamp side.

While the Echoplex relied on magnetic tape and a dizzying

array of heads and rollers that needed regular maintenance,

Italy’s Binson had another idea—magnetic drums,

not too far removed from those found in computer hard

disks. Binson’s Bonfiglio Bini designed the Echorec with a

burly motor that allows players to change the speed of the

motor itself in order to manipulate the delay time, while the

Echoplex relies on moving the tape mechanism in order to

vary the delay time. Also unlike the Echoplex, the drum and

motor required far less month-to-month maintenance and

was resistant to magnetic tape’s wow and flutter, making

for a more reliable unit for live usage. There is perhaps no

greater ambassador of the Echorec than Pink Floyd’s David

Gilmour, with Hank Marvin of the Shadows not far behind.

delicious audio Winter 2020 19


150ms 300ms 800ms 2000ms


1959 1961







Photo: Evan P Cordes

“Bonfiglio Bini at Binson in Italy designed

the Echorec that used magnetic drums and

motor, which required far less maintenance,

and was more reliable for live useage.”

“In 1959, Ray Butts created EchoSonic,

the world’s first portable tape delay unit.”

“Mike Battle for Maestro of Kalamazoo

developed Echoplex, the delay

unit that didn’t include an amplifier.”

(Pictured) EP-2

Thousands of miles away, Roland started work on its tape

delay unit, known as the Space Echo. The Space Echo was

released relatively late compared to its relatives, but chief

engineer Ikutaro Kakehashi first developed the far lesser-known

Ace Tone EC-1 Echo Chamber in the late ’60s,

right alongside the more well-known Western units. The

big breakthrough of the Space Echo ancestry is the RE-

201, featuring an endless tape loop delivered in an unconventional

way, using a bit of gadgetry known as a capstan

drive (take note, Strymon enthusiasts!).

Before tape’s appeal faded, studio engineers were truly

getting the most from this medium before it went the

way of the dodo. Abbey Road’s Ken Townshend invented

automatic double tracking after John Lennon complained

about the tedium of manually double-tracking vocals. Likewise,

Jimmy Page somewhat invented reverse delay in order

to subdue the effect of a heinous brass ensemble that

he hated when playing with the Yardbirds.

Like virtually all other technology, the tubes and complex

mechanical workings of tape machines eventually came

across the operating table of miniaturization. The ’70s saw

the advent of BBD (bucket-brigade device) chips and the

first truly low-cost ICs (integrated circuits). These BBD chips

came to prominence by way of American manufacturer Reticon

(SAD series) and then undercut in price and availability

by Matsushita (MN series). Any effect featuring a parameter

that is even remotely related to time, such as “rate,”

“speed,” or anything else contained a BBD chip. The echo

effects of this time came to be known as “analog delay.”

The sound of analog delay is dark and moody, but this

sound wasn’t necessarily a design choice like it was with its

tape predecessors. The technology of BBD design took a

heavy toll on the high frequencies, particularly at 3KHz, the

same band in which clock noise is generated. Heavy filtering

was implemented to keep the clock noise from bleeding

into the signal path, creating a characteristic high-frequency

rolloff. Subsequent repeats were run through the same

filtering, leading to repeats that eventually degraded into

20 delicious audio Winter 2020

ads_HalfPg_DeliMag 1219.qxp_One Control 2019-12-13 12:40 PM Page 1






1969 1974







“The Echoplex EP-3 also started the

trend of guitarists using the preamp

section of their preferred echo units

as part of their signature sound.”

“The ’70s saw the advent of BBD

(bucket-brigade device) chips and

the first truly low-cost ICs (integrated

circuits). Any effect featuring

a parameter such as “rate” and

“speed” contained a BBD chip.”

“Roland’s Space Echo RE-201

featured an endless tape loop

delivered in an unconventional

way, using a capstan drive.”

mush. Later technologies that attempted to emulate analog

gear simply implemented a 3dB cut at 3KHz, creating the

same degraded repeats that purists crave.

One of the biggest names in analog delay was the Deluxe

Memory Man by Electro-Harmonix. This upgrade to the earlier

Stereo Memory Man featured a lush modulation section.

An unintended byproduct of tape delays that occurred as

its mechanical parts wore down, this new modulated delay

added chorus or vibrato sounds to the repeats. This iteration

of analog delay exclusively used the MN3005 BBD, while

later permutations used the MN3008 and even the MN3205.

As is the case with technology as a whole, analog eventually

gave way to digital, ushering in several new delay types

which either simply aren’t possible with analog technology,

or are prohibitively complicated. Much like analog delay,

digital delay entered into the conversation once its principal

components became cheap enough for the finished

products to turn a profit. The core of digital music technology

was simply onboard memory—it was insanely expensive

prior to the early ’80s. This is why everything was

“digital” in the ’80s—clocks, synthesizers and tv tuners all

brandished this adjective in hopes of attracting consumers.

In the effects world, digital delay at its core meant an exact

reproduction of whatever was played into the unit. For

better or for worse, digital units repeated exactly what they

heard, and there was no high-frequency rolloff to hide mistakes

of any kind. With this tradeoff came some radically

advanced signal processing unlike anything delay devices

had seen before. And it began in rack units, with enough

space to hold processors, memory, screens and a myriad

of colorful lights and buttons.

New advancements in delay technology were possible after

the advent of digitalization. Units like the Roland SDE-1000

added features such as tap tempo, in which players set the

delay time by rhythmically tapping a footswitch for precise

intervals. Algorithms like “ping-pong” delay, where each

repeat shot across stereo channels, and “ducking delay,”

where the repeats are reactive to the volume of the input

22 delicious audio Winter 2020





150ms 300ms 800ms 2000ms

1980 1983 1999







“One of the biggest names in analog

delay was the Deluxe Memory Man by

Electro-Harmonix. An unintended byproduct

of tape delays that occurred

as its mechanical parts wore down, this

new modulated delay added chorus or

vibrato sounds to the repeats.”

“BOSS DD-2’s rudimentary analog-to-digital

converter creates

a slight high-frequency rolloff

that bridges the gap between

analog and digital.”

“Jeorge Tripps designed the DL4 for

Line 6 that featured foot controllers

to control the parameters such as

speed of the loop in the real time,

following Gibson’s Echoplex and

Akai’s Headrush E1.”

signal were found on the myriad of rack units, along with

everything else previously mentioned and a few kitschy outliers.

Because digital memory was cheaper but still relatively

pricey and occupied a swath of circuit board real estate,

rack units were the de facto medium for these circuits.

TC Electronic’s 2290, Roland’s SDE-3000 and Korg’s SDD-

3000 led the pack in the realm of digital delay technology,

with the latter featuring several nifty features that characterize

the sound of U2’s [the] Edge. The Edge popularized

the “dotted-eighth” delay, a subdivision of standard delay

time controls that normally operated in quarter-notes.

These digital units were also capable of extending delay

times far beyond analog devices, up to three full seconds

in some models. BOSS released the first compact digital

delay pedal, based on the aforementioned SDE-3000, and

called it the DD-2 in 1983. Because of the unit’s rudimentary

analog-to-digital converter, it creates a slight high-frequency

rolloff that bridges the gap between analog and

digital. These units are still sought-after to this day.

Gibson eventually acquired the rights to the Echoplex name

and released the ultimate form of long delay times: the looper.

Gibson’s “Echoplex” was a rack-mount looping device

that featured a foot controller to control every parameter of

the looping, giving groundbreaking options to change the

speed of the loop in real time and lay down real-deal “soundon-sound”

tracks atop one another. Akai’s Headrush E1

served this up in 1994, and Jeorge Tripps followed suit in

1999, designing the DL4 for Line 6 and bringing many of the

same features to pedal users. The DL4 is still manufactured

20 years later as a staple of countless bands’ touring rigs.

After exploring the two realms of signal processing, only

innovative algorithms remain. Companies like Eventide,

Strymon, Meris and even BOSS are constantly pushing the

envelope to new frontiers in signal processing. While many

of these units try to emulate a certain era of delay tech,

many feature innovative bits of signal processing that are

working to advance the tech even further. d

24 delicious audio Winter 2020

ads_HalfPg_DeliMag 1219.qxp_AP 2019-12-13 12:33 PM Page 1







By Christopher Scapelliti

As explored in the previous article, musicians and producers have been treated to a wealth of innovations in

the world of delay effects. Somehow, though, it seems guitarists always return to analog delay. Though the

effect fell out of favor from the 1980s through the early 1990s, it began to make a comeback towards the

end of the last century. Today, love for its warm, slightly distorted sound is as strong as ever, as evidenced

by the numerous analog delay pedals on the market.

But what’s the source of that analog mojo? It’s the bucket brigade device, or BBD chip, the integrated circuit (IC) responsible

for creating the delay effect—as well as other time-based effects like chorus and flange—in these vintage units.

26 delicious audio Winter 2020




The BBD is fairly old tech. It was created in 1969 at Philips

Research Labs and works in an ingeniously simple manner.

Inside the BBD is a long line of tiny capacitors and switching

transistors. Each capacitor acts as a container for an

analog sample of sound, which it receives from the pedal’s

input and stores as electric energy. When the signal enters

the chip, the first capacitor takes a sample of the sound

and then hands it off to the next capacitor, or stage, within

the circuit, which passes it off to the next, and so on. This

method of handing-off samples recalls a line of firefighters

passing buckets of water from one end to the other, which

is how the chip came to be called a bucket brigade device.

Capacitors don’t have to immediately unload their energy.

They can hold onto it for a short period of time before passing

it along and receiving a new sample in their now-empty

bucket. This is where the switching transistors come in—

they tell the capacitors when to release their charge and

send it down the line. The rate at which this happens is

determined by a companion chip that acts as a clock. By

adjusting the clock rate, we can set the speed at which the

capacitors pass along their contents. This is how the BBD

chip is able to produce everything from fast slapback delays

to echoes separated by several hundred milliseconds.



But capacitors aren’t perfect. They tend to leak, and just

like a bucket with a hole in it, they need to pass their contents

along before it runs out. Even the largest-capacity

BBD chips, which contain 4,096 stages, can produce

delays of only about 400 milliseconds, or less than half a

second. As the energy in a capacitor runs out, very little

information is left to pass along. This is why long echoes

in BBD delays have low fidelity. It also explains why each

subsequent echo sounds fuzzier than the one just before

it—there’s less data available to pass along. Note that this

isn’t a problem with chorus or flange, because those effects

rely on short delays, so the buckets pass their contents

along quickly and with minimal loss.

Many musicians like analog delay for its “warmth.” While

this is partly due to the leaky nature of capacitors, it’s also

by design. BBD chips tend to be noisy. All that repeating

data produces undesirable artifacts, known as aliasing,

which is heard as high-frequency distortion. In addition,

the clock generators that tell the chip how quickly to pass

along data put out their own high-frequency whine.

To mask the noise, circuit designers have often used lowpass

filtering to roll off the high frequencies where the aliasing

and clock whine reside. This makes the echoes sound

duller than the original signal. A number of other methods

have been used to mask clock noise, but low-pass filtering

is most common.


Though BBDs were invented in 1969, it took several years

before they were good enough to use in musical applications.

The first devices had just a few stages—i.e. buckets—and

worked only on low-frequency content. They also

suffered from parasitic capacitance, an undesirable condition

that exists between parts of a circuit that are close

together. Eventually, these problems were worked out, and

by 1976 BBDs were being made with as many as 2,048

stages, allowing for smooth and rich-sounding echoes. In

addition, designers found that by teaming together several

BBD chips in series, they could overcome the circuits’ inherent

time limitations, to some extent.

BOSS DM-2 (left), the first

Bucket Brigade delay pedal.

Eventide Rose (right), a digital

delay that emulates the sonic

characteristics of a BBD.

Thanks to these innovations,

a host of classic effects

from the late 1970s through

the mid 1980s were based

around BBD chips. By the

late 1990s, manufacturers

had begun to rediscover the

magic of BBDs by building

new devices around NOS

(New Old Stock) chips. Today,

many IC manufacturers are producing accurate reproductions

of classic BBD chips, allowing for a new breed of

devices powered by this vintage technology. Many new pedals

use several BBDs in series to produce delay times northward

of 1000ms. Today these chips are so “trendy” that digital

powerhouses like Strymon and Eventide invested a lot of

resources in recreating digital circuits that perfectly recreate

the Bucket Brigade – with all its character and flaws! d

Want to put some analog delay in your signal chain? The pedals on page 26 and 27 use BBDs.

delicious audio Winter 2020 27

the best

Delay Pedals

Delay Delay Pedals Pedals


delay pedal simply replicates

your guitar’s input signal. So

why is choosing one so difficult?

The short answer is “variety.” Electronic delay, or echo, has

been around since the late 1940s, when it was produced

mechanically, using audio tape. In the roughly 70 years

since then, it’s become available in a range of analog and

digital circuits and with an increasingly varied set of features,

including tap tempo, modulation and multi-tap delays

that let you create complex rhythmic echo effects. Despite

this, all delays are similar at heart, taking your input signal

and passing it through a circuit that features controls for

adjusting delay time, the number of repeats and the amount

of “wet” effect to be blended with your original “dry” signal.

We’re not going to get into the specifics of how delay pedals

work, but suffice to say, delay has become one of the

most common effects available today, even if it is available

in an uncommonly diverse number of flavors. Not only are

there dozens of pedals to choose from, but the range of

features on offer can be overwhelming: everything from

simple analog echo boxes to advanced boxes that offer

multiple types of vintage and modern delay.

for all your needs

Delay is also the centerpiece for a range of stompboxes

designed for ambient guitarists (and other musicians too).

These pedals excel at turning your input signal into an echoey,

droning wash of sound and usually include a number of

other audio-bending features, such as filters and modulation.

We’ve compiled the following best-of lists to help you sort

through the variety of delay pedals out there. Whether

you’re looking for a simple set-and-forget echo stompbox,

a delay pedal with tap tempo, a tape-echo reproducer (real

or emulated), an ambient box, or a fully-loaded delay with

all the bells and whistles, you’ll find what you need among

the seven lists in the next pages. We’ve divided our choices

into pedals Basic Analog Delays; Avdanced Analog

Delays, which offer features such as tap tempo and rhythmic

subdivisions; Creative Digital Delays and Multi-Mode

Delays that give you a full range of delay varieties as well

as advanced features; Unapologetic Digital Delays (mostly

’80s inspired) and Vintage Analog-style Delays. Attention:

we didn’t include Delay + Reverb pedals in this overview!

Many of these pedals are new additions to the world, while

others have been around for a while. All are available right

now to help you get the tone you crave.

delicious audio Winter 2020 29

basic analog delays

Many guitarists are looking for a delay to help them beef up their tone. They don’t need tap tempo or

other frills—just a basic three-knob pedal that can deliver a range of delays for styles ranging from

rockabilly to reggae to hard rock. If this sounds like you, you’ll be happy to know there are plenty

of pedals out there that can fulfill your requirements. Entries in this BBD-driven category include:



Based on the vintage Boss

DM-2, it introduces switchable

modes and greater versatility,

with Custom mode offering a

cleaner analog tone with over

twice the available delay time

(800 ms). Standard mode replicates

the original with delay

times between 20 and 300ms.

Deadbeat Sound


This affordable delay by an irreverent,

JHS-blessed Brooklyn-based

builder is smaller

than your average stompbox

and offers between 140ms

and 360ms of delay, with controls

for Mix, Time and Rate.

A self defined “broke-tique”

builder, Deadbeat Sound

makes boutique pedals for the

broke musician.


Memory Toy

An affordable, streamlined version

of the legendary Memory

Man, this is a delay with lush

sound and basic controls that

also includes a modulation

mode which adds a touch of

chorus. Up to 550ms of delay,

among the shortest in this list.


Analog Delay Mini

It features two smaller knobs

for Repeat and Blend, and

a significantly larger Delay

Time knob in the middle. The

range of delay time is 20ms to

600ms. True bypass switching

provides the shortest, most direct

signal path, as well as the

cleanest tone.

Jam Pedals

Delay Llama

A truly boutique, hand made

pedal, this effect features a

straightforward design and

delivers up to 600ms of delay.

It’s particularly loved by musicians

for its slapback effect.



A great sounding delay, but

not the most affordable option

out there, maybe because it

features eight custom Bucket

Brigade IC’s for 900 milliseconds

of warm, organic analog

tone. Its repeats feature

a slightly overdriven tonality

that sits perfectly behind dirty

tones and adds depth and dimension

to clean sounds.


Carbon Copy

A very popular, rich sounding,

three knob analog delay

based on the classic bucket

brigade technology. It features

up to 600ms of delay time with

optional modulation controlled

by two internal trim pots for

width and rate.

TC Electronic


One of the most affordable

bucket brigade delay on the

market, this stompbox gets

the job done with three knobs

(Time, Repeats and Mix) and

up to 300ms of delay, but gets

mixed online reviews.

Check out also: Animals Pedal Relaxing Walrus, One Control Turquoise, Tsakalis TiLay.

These are not as basic, but also BBD based: Supro Delay, Teisco Delay, Xvive Echoman.

advanced analog delays

If a basic echo pedal is too spartan, check out these analog stompboxes, which boast additional

features for creative sonic manipulation, such as multi-tap delay, tap tempo and low-frequency

oscillators that can emulate the pitch fluctuations of vintage tape-based delays.

Analog Man


Hand-made by one of the few,

true boutique pedal pioneers,

it’s a dual BBD-based delay

with controls for time, feedback,

and delay level. It features

an effects loop and expression

pedal jack to control

delay time. Optional AMAZE0

gives it external tap tempo,

modulation, and presets.

Chase Bliss Audio

Tonal Recall

100% analog signal path

controlled by a digital brain,

it packs the unimaginable in

a compact case: tap tempo,

MIDI connectivity, presets (2

via footswitches and 100+

through MIDI), modulation controls

(shape, rate, depth, and

shape), wet/dry knob, a hold

function to add self-oscillation

and 16 DIP switches on the

back panel for extra tweaks.

Death By Audio

Micro Dream

A compact version of the popular

Echo Dream II (which also

includes a fuzz circuit) the Micro

Dream has the unique feature

of getting more and more

lo-fi sounding the longer the

repeats, which sound warm

and pleasant up to 400 ms.



Over a second of analog repeats

with tap-tempo, subdivisions,

and tails. Double

concentric knobs give you independent

control of the Mod,

Rate, Depth, Gain, and Tone of

the delay. Double footswitches

allow for extended features

like user customizable momentary

control of oscillation

and momentary control of the

dizzying pitch sweep.

Emma Electronic


A lush sounding tap-tempo

delay with modulation. The

unique Second knob acts as a

mix control between the main

repeats and the “beat-split

delay repeats,” i.e. the repeats

that fall in between the main

delay’s ones and whose timing

is controlled by the Subdivision

toggle switch.

Fairfield Circuitry

Meet Maude

A simple, warm-sounding yet

creative analog delay featuring

a subtle random modulation

that adds a vintagey tape

feel to its repeats. Full CV and

Expression connectivity allow

control of Time and Feedback

values from external sources.

Stone Deaf FX


Digitally controlled analog delay

with Modulation featuring

1000m/s of delay time, Tap

Tempo, 4 Preset Slots, four

Subdivision, a useful Tone

knob, and alternate knob controls

to tweak the modulation’s

rate, depth and shape.

Way Huge


Fully featured modulated analog

delay with Tap Tempo, subdivisions,

and several fine-tuning

options, including Tone

and Mix knobs and EXP In. The

“out there” Chase mode gets

your repeats to cycle through

each of the subdivision values.

Holding the Tap Tempo button

enables trail mode.

Check out also: Anasound Utopia, Cusack Tap-a-Delay, Electro-Harmonix Memory Boy,

JAM Delay Llama Supreme, Mojo Hand FX Mirror Ball, Native Audio Wilderness, Subdecay Echobox. delicious audio Winter 2020 31

Creative Digital delays

If you’re looking for a delay pedal that can take your sound into another dimension, chances are

you’ll find what you want among these ambient machines. Most of the boxes here can do straight

delay, but nearly all of them excel at creating unexpected sounds and textures and washes of

echo. Please note, no delay + reverbs in this list. Look here for those: bit.ly/shoegazer-pedals!

Chase Bliss Audio


It digitally manipulates the

pitch of an analog signal path

created by 4 re-issued versions

of the BBD chip. This allows

to create delays with repeats

playing at different intervals,

opening up innumerable harmonizing

options. Intervals can

be sequenced automatically, or

triggered manually. It can also

be used as a more standard

analog modulated delay.

Free The Tone

Future Factory

Hailed as the world’s first

random fluctuating phase

modulation pedal, this unit

might be considered the ultimate

purely digital delay.

Its two delays can be used in

series or parallel modes with

controls over virtually every

parameter imaginable.



A digital stereo delay/looper

with modulation inspired by

tape echo but evolving past

it. A modulation section added

to the delay’s trails offers

a choice between a vibe and

two flange modes, while an alternate

control function allows

access to Tone, Regen, Subdivisions.

The Looper mode can

do reverse and half speed.



A deep stereo modulated delay

that can take you from familiar

earthly environments to parallel

sonic universes. It boasts 6

delays in series, dual dynamic

flangers, dual phasers and a

filter section, offering thorough

control over the modulation

and a unique feedback circuit.

The Alt button opens up extra

controls for subdivisions and

dynamics and filter response.

Montreal Assembly

Count to Five

A unique delay/sampler with

three modes that can create

sped-up, slowed-down,

forward and backward tape

effects, audio slicing, looping

and overdubbing. Quantized

pitch shifting lets you create

tones that are harmonized

chromatically or in perfect fifths

and octaves, or you can set the

pitch wherever you want.


Echolution 2 Ultra Pro

A studio grade stereo multitap

delay packed with features:

looper, LFO, envelope,

multimode analog filter and

also shimmer and a bit crusher.

Great for on-the-fly programming.

Features Reverse,

Ducking, Trails, Subdivisions,

Listen and Ping Pong modes,

60 presets and full Midi and

Expression integration.


Drone Rainger

An atmospheric digital pedal

that blends your tone and two

low, fully tunable self-generated

drones through the same

delay circuit. The drone voices

can be spliced into the signal

at intervals you select with

plenty of routing and tuning

options available. It can switch

between two notes on the fly

or play both notes together.

Check out also: Digitech Obscura Altered Delay Pedal, Dwarfcraft Devices Super Wizard Pedal,

Eventide Rose, Meris Hedra, Walrus Audio Bellwether

Red Panda


A digital delay with a pitch (and

frequency) shifter integrated

into the feedback loop producing

harmonized and reverse

delays, chorus, arpeggios, infinite

descents, self-oscillation

and evolving soundscapes.

Repeats can be pitch-shifted

up or down by an octave in

semitone steps. Push it to extremes

for ring modulation and

inharmonic shifted delays.


Before recent improvements, digital applied to audio had a bad rep — or did it? If you ask any

shoegazer or post-punk band they’ll beg to differ. The early digital delays from the ’80s had

their own character (as gritty as it may have been) and became an integral part of the sound

of the aforementioned genres — embedded in the records of bands like Joy Division and My

Bloody Valentine. Here are four pedals that embrace digitality.



The 2019 evolution of the

classic DD-3, (a 3 decade old

hit) which adds useful functions

like Tap Tempo, dedicated

Direct Output, and Tempo

Input for connecting external

tempo-controlling devices.




Although it can function as a

standard, ’80s inspired digital delay,

the CSIDMAN has Cuts and

Latch controls that let it create

the sound of a skipping portable

CD player. Though its behavior is

pseudo-random, the CSIDMAN

gives you some degree of control

over it, though, but not enough to

make it entirely predictable.

Mr. Black

Mini Echo-Delay

Replicates the sound of the

digital rack delays of the ’80s

dear to many shoegazer bands,

with their pleasing sounding

artifacts and all, packaging it

inside a tiny enclosure.



Another take on the rack

mounted digital delays of the

’80s with a dual-engine and

deep functionality. It offers five

rhythmic subdivisions, three

dual delay routing options, two

modulation modes and three

delay types: early ’80s and mid-

’80s emulations, and a modern

digital mode at 24bits/96kHz.

In this list, a few more Creative digital delays, but with a multi-mode feature for

expanded sound-sculpting options.

Alexander Pedals


The NEO version of this ‘80s

flavored delay packs extra features

like Preset, Morph function,

Trails and Ramp, with six

delay modes from pitch-shifted

to dynamic and arpeggiating

delays. and the more

ordinary dual and Modulated.

The Tweak knob controls

mode-specific parameters.

Mastro Valvola


An 8-mode tap-tempo and

preset-enabled ambiance machine.

Prioritizes creative, ambient

delay effects, from Reverse

to Lo Fi, Octave Up/Down, and

Modulated. Four knobs allow

control of six different parameters.

A toggle switch facilitates

control of 6 different parameters

via expression pedal or CV.

Old Blood Noise


A purposefully deviant digital

delay with modulation that intends

to foster happy accidents

through three modes: STUT-

TER, a delay with a percussive

tremolo on the trails; WHIRL,

a modulated delay adding

chorus on the wet signal, and

SHEER, A delay with increasing

octaves on the repeats.

Red Panda

Particle 2

This feature-packed, stereo

granular delay/pitch shifter

chops your signal into small

grains and rearranges, shifts,

and mangles it. Five delay

modes (random, density, LFO,

random pitch, and reverse) and

three pitch modes (detune,

density, LFO) with shifting capabilities

of +/-1 octave. V2

adds Tap Tempo and Presets.

We did our best to include all the most popular/relevant pedals in this list but if we forgot something please

email paolo.dg@thedelimag.com and we’ll consider including what you highlight in our online lists.


Maybe you want a delay that features loads of bells and whistles. Many advanced

delay units place a wealth of analog and digital tones at your service, along with

features such as looping, multitap delay, “freeze,” tap tempo, vintage emulations

and additional reverb and modulation effects. The stompbox that started this

trend is the olden but golden Line 6 DL4. These models follow in its footsteps.



32-bit and 96 kHz sampling

rate allow for a more dynamic

and detailed sound. 12 delay

modes, six knobs for onthe-fly

control, customizable

footswitches, tap tempo, and

four presets slots. There’s also

a 60-second phrase looper.

Supports external footswitches,

expression pedal, and MIDI.


Grand Canyon

Marries 12 delay modes (up

to 3 seconds) to a Looper

function with 16 minutes of

recording time. Other features

include tap tempo, nine tap

divide settings, 13 presets,

programmable EXP pedal settings,

trails option to let the

delay tail fade out naturally

when the pedal is off.



A pioneer in this list, it features

nine dual delay modes with

dedicated mix, time and feedback

controls for each channel.

All delays have LFO, Filter, a

variable Xnob control, as well as

an Infinite Repeat footswitch.

Features also Tap tempo, a

Looper with variable speed,

Midi, and 100 preset slots.



Dual engine delay with 36+ studio

quality algorithms including

emulations of classics like digital,

tape and analog delays, and

also ambient, multi-tap and reverb

modes. Its dual-engine allows

two of any of these effects

to be used together, routed in

either parallel, series, or left/

right configurations. Tap tempo,

plenty of subdivision options,

Midi connectivity and Cab simulator

are welcome extras.

Source Audio


A more affordable, smaller

than the average, but great

sounding take on the do-it-all

digital delay. Features 12 delay

modes, Freeze control, 4

presets, Tap Tempo, expression

control and full Midi compatibility.

6 knobs allow you

on the fly access of the most

common delay settings.

Seymour Duncan


Offers eight delay types and

a unique dynamic delay function

that lets the effect interact

with the dynamics of your

performance. Presets, Midi integration

and Library software

round up the features.


Timeline Delay

Loved by many, it’s lush

sounding with deep functions,

without being overly complicated,

a studio-grade unit that

includes 12 “delay machines”

delivering anything from classic

tones to cutting edge ones.

Includes also 200 presets, a

routable 30-second looper,

and full Midi implementation.

Many of these brands have a streamlined compact version of these large footprint pedals.

TC Electronic

Flashback 2 X4

A dual digital delay offering 16

delay types (6 of which are customizable

via TonePrint), four

knobs, dedicated tap tempo

footswitch and 3 pressure-sensitive

footswitches with the

MASH technology (which let

you toggle between delay

sounds instantly). 6 presets, 11

subdivision settings. Midi compatibility

and 40-second looper

round out the features.

ads_HalfPg_DeliMag 1219.qxp_OUTLAW 2019-12-13 12:34 PM Page 1




Rose is a modulated delay


unlike any other. Learn more

at eventideaudio.com/rose


Maybe you’re just hooked on the raw sound of echo produced by mechanical

tape and oil can delays. Unfortunately, vintage tape delays like the Echoplex,

Binson Echorec and Roland RE-201 Space Echo can be costly and difficult to

maintain. On the bright side, there are a number of entirely electronic pedals that

can mimic the glitchy sounds of tape delay and warbling echoes of oil-can units.


RE-20 Space Echo

A faithful recreation of the beloved

tape echo RE-201 by

the original builder, it boasts

11 classic reverb and delay

modes emulated from Roland’s

legendary original, adding

longer delay time, tap tempo

capabilities and expression

pedal control. It replicates the

original’s tape flutter and magnetic

head sound saturation.



A digital recreation of the vintage

and rare oil can delays that

emulates their dark and warbly

tone while “optimizing” the original

units’ temperamental character

by identifying their most

musical and interesting behaviors.

The Viscosity knob controls

the intensity of the character.

The Balance knob creates

interesting syncopations emulating

emphasys given to one of

the two magnetic heads.

Dawner Prince Electronics


It faithfully recreates the Binson

Echorec 2, increasing delay

time to 1s and using high

voltage driven FETs as tube

emulators and a DSP unit for

the drum-based memory. It

replaces the 12 positions of

the “Switch” knob with an increased

16 combinations. The

small Drum Age knob on the

back blends in the character

displayed by worn out units.



A simple three-knob 40-750ms

delay pedal that emulates the

Maestro Echoplex EP-3 from

the ’60s, one of the first tape

echos. An Age control adds

the character of older, wornout

machines to the repeats,

darkening the tone and adding

saturation and modulation.


Echosex Baby

A quality, affordable, compact

delay pedal that’s a reduced

and stylized version of the

bulky Guru Amps Echosex,

inspired by the vintage Binson

Echorec, beloved by David

Gilmour. Like most pedals

in this list, it features an Age

knob to add lo-fi character to

the repeats.

Hungry Robot

Moby Dick V2

A hand-built, tape-emulating

delay with lo-fi and modulation

circuits. The “Lo-Fi” knob

allows to dial in additional

tape saturation to the delay

line, while the Mod control applies

modulation from subtle

to heavily detuning.



A delay/looper that aims at giving

the modern guitarist three

of the most sought-after vintage

delay sounds: tape echo,

drum, and reel-to-reel. Controls

allow you to fine tune the character,

fidelity, brightness and

age of the delay, for more or

less vintage-sounding results.


Faux Tape Echo V2

A versatile delay recreating

the warmth and character of

vintage tape units through a

mostly analog circuit (clean

signal path and filters are analog,

while the delay line is

digital), with the added convenience

of Tap Tempo. Delivers

anything from slapback to

washed out sounds. V2 offers

also subdivisions.

Check out also: Catalinbread Echorec and Belle Epoch, Empress Tape Delay, Gurus Amps Echosex 2,

Keeley Mag Echo, Strymon El Capistan, TC Electronic Alter Ego X4.

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