#170416  by wpmartin1979
 
Searing75 wrote: Mon Mar 22, 2021 8:24 pm The Keeley eccos is the best delay I have used. It is also a looper. Tap tempo. Expression jack which you can assign any parameter to. Geez....lot’s of other stuff, but mainly it sounds killer!
Have you ever tried the El Capistan y any chance - just curious how these two compare to each other since they are essentially the same concept (But El Cap gives you a bonus Spring Reverb and Eccos gives you a bonus looper)
 #170417  by Jon S.
 
wpmartin1979 wrote: Tue Mar 23, 2021 7:04 am
Searing75 wrote: Mon Mar 22, 2021 8:24 pm The Keeley eccos is the best delay I have used. It is also a looper. Tap tempo. Expression jack which you can assign any parameter to. Geez....lot’s of other stuff, but mainly it sounds killer!
Have you ever tried the El Capistan y any chance - just curious how these two compare to each other since they are essentially the same concept (But El Cap gives you a bonus Spring Reverb and Eccos gives you a bonus looper)
FYI: https://www.thegearpage.net/board/index ... n.2228338/
wpmartin1979 liked this
 #170419  by Jon S.
 
If I may offer an additional general observation.

Most of us, if we've even ever actually tried a true tape delay (e.g., Echoplex), have used an up to 6 decades old machine with very old tape (though admittedly an imperfect analogy, compare the tone you get from new strings to old ones).

As a result of this, many of us, when we think of "authentic tape delay" tones, think of a sound that's relatively muffled and treble-sucked. Whereas, listening to original recording from late '59 and the early '60's with echo effects, given the recording technology then and all other things considered, the repeats are actually pretty clear.

While we've definitely gotten used to, over the years, the tones from ratty old tape delays - and grown to love the tones - it can be nice to have access also to a broader range of delay tones. This is another reason why I was, myself, attracted to the Strymon DIG - its 3-position "TYPE" minitoggle offers: (1) 24/96 (modern, clean, pure); (2) adm (early '80's adaptive delta modulation = snappy/percussive); and (3) 12 bit (darker/warmer).

For the broad range of bands I cover, I need the DIG's versatility. TYPE (3) is still, though, brighter and snappier than an old tape delay's repeats. If the latter tone's your lodestone, for Strymon effects, El Capistan is your better option.
wpmartin1979 liked this
 #170420  by strumminsix
 
wpmartin1979 wrote: Mon Mar 22, 2021 3:17 pm
strumminsix wrote: Mon Mar 22, 2021 2:38 pm If I could only own 1... I'd be the MXR Carbon Copy. Super easy controls and very musical. The bring/dark delay switch is awesome. Only con, is there's no tap tempo.
Can you explain the benefits if tap tempo and when you use it. I’m assuming it’s more important if you play live, but I’m not exactly sure - do you just tap the switch with the drum beat to get the tempo of the delay?

Sorry I’m a total delay NEWB as my son would say lol :biggrin:
The "Tap Tempo" feature aligns the repeats of the delay pedal to align with the tempo of the song.

Extreme examples for illustrative purposes:
This is not important for country slapback or solo fattening or when using vs reverb.
This is critical for ambient music or U2 or Pink Floyd or anything with long pronounced delays.
wpmartin1979, Jon S. liked this
 #170462  by wpmartin1979
 
I’m starting to question whether or not it is even possible to know what kind of delay you would prefer, much less what pedal or pedal maker without going down the rabbit hole :sad:
 #170463  by Jon S.
 
wpmartin1979 wrote: Thu Mar 25, 2021 7:03 am I’m starting to question whether or not it is even possible to know what kind of delay you would prefer, much less what pedal or pedal maker without going down the rabbit hole :sad:
You can simplify your decision tremendously by asking first what delay types you need before asking what tone(s) you want.

If you want a delay that can give you types like the fundamental note and + dotted quarter notes, 8th notes, 16th notes, golden ratio, etc. (essential for, e.g., U2, Pink Floyd, Police, ambient, P&W), you need either a dual delay or two individual single delays (the latter being very much harder to dial in unless each shows bpm).

If, on the other hand, you only need a single delay for your fundamental note, any single or double delay will work for you as long as the delay time range meets your needs (e.g., up to 800 ms, though you may actually need less).

After answering this opening question, next consider what tones you prefer. E.g., '80s - modern versus '50's/'60s.

The good news is we have so many options available to day that there's a delay for everyone's needs. That's also the bad news, though, if you suffer from "paralysis by analysis."

Other considerations are recording versus live performance. Frankly, live at high volumes, though you may care some (and it may not be much, depending on your ears and personality), very few if any of your audience is going to care about the differences between delay tones (think about it: have you ever, at a club or bar, thought to yourself, "Wow, I notice and love [or hate] the tone of the guitarist's delay repeats?"). If you're recording, on the other hand, it may be critical.

Just my point of view. As always, YMMV.
wpmartin1979 liked this
 #170654  by wpmartin1979
 
So I ended up pulling the trigger on one of these, I’ll let you guys know what I think after I receive it and get some bonding time in. It’s the Carbon Copy but brighter which I like the idea of:

Image
 #170660  by Jon S.
 
You know my view on delays. What most of us think of, today, as "true tape delay tone," is that of a ratty-assed, 5+ decade old, in-need-of-new-tape-and-servicing Echoplex. Whereas, if you bought one new in 1959, it would be plenty bright and clear. I.e., I like your choice!
wpmartin1979 liked this