A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

by | Dec 5, 2021 | Delay/Reverb, Effects

A Smörgåsbord of A-n-n-n-n-a-l-o-g Delay

A true indulgence, it’s not often one gets to enjoy a delicious Smörgåsbord of delay pedals featuring a great selection of the analog variety or emulations thereof. As is the customary approach, the focus here is to compare and contrast, to listen and learn, to come away with a better understanding of what each pedal has to offer and as to how it might best serve one’s needs – all of these are truly tasty audible delights.

Acknowledgments: Before continuing any further, and very deservingly so, I want to express a big and sincere ‘THANKS’ to my friend at ZString Music (https://www.zstringmusic.com/) for providing access to this wonderful selection of delays; even extending the invitation to suggest a few pedals to add to their inventory for purposes of this exercise. A company founded by musicians and tailored for musicians, their guiding tenet is to only carry gear they would use themselves; “a curated” selection from the tried and true to the latest and greatest.

As to the specific Analog Delay pedals selected for this tasting, the Smörgåsbord includes:

  • from EHX: the New Memory Man Nano, Memory Boy Deluxe, Memory Man Deluxe 550TT, and the Memory Man Deluxe 1100TT.
  • from Dunlop: the MXR Carbon Copy Deluxe and the Way Huge Supa Puss.
  • misc. options: the Strymon Brigadier (digital emulation) and, the Eventide Rose, (hybrid Analog/Digital)

[The Final Thoughts First]

Let’s just get this out of the way — these are all great pedals. Some share similar voices and ranges, others bring something a bit unique and, any one of these delays could find a comfortable home on one’s board. From the classic EHX and MXR models to that of the more modern takes, Brigadier or Rose, one will be treated to the well-loved and defining traits of analog delay in spades.

The personal choice of which pedal best fulfils one’s list of ‘needs & wants’ will certainly be based on some combination of the following factors: voice, control mechanics and range of settings, features, and physical format. To my own decision, specific to my current tastes and needs, I felt like the Supa Puss hit the spot, checking off the most boxes for my intended use of analog delay; this, inching ever so slightly ahead of the Brigadier and, each having their strengths with consideration to ‘use case’.  The MXR Deluxe Carbon Copy followed close behind with the Memory Man Deluxe (550TT or 1100TT) rounding out the top five. Important to reiterate, this list is NOT ordered best to worst BUT, as to which pedals best addresses my current needs and wants.

The Rose is so very unique and a solid delay in its own right, with depth of features and related controls. To the idea I was looking for a more traditional implementation of analog delay, it’s personality was a bit complex for my needs at this time. That said I can certainly imagine many different scenarios where it would be the pedal of choice for the application.

[Quick Notes and Observations] 

Memory Man Deluxe 550TT/1100TT:  It’s as simple as engaging the pedal and one is instantly gifted with ‘that’ delicious analog delay effect many have come to love. The cult-like fans of the original Memory Man might argue as to the differences of tone but even then, I believe most enthusiasts would quickly point out that many of the original units often have subtle differences between effect voices. These deluxe editions introduce some welcomed features to include: tap tempo w/ tap divisions, separate modulation controls for rate and depth, an effects loop (connections), expression pedal control, and 9v power requirements. The controls were easy enough to navigate and I found the repeats to have a nice crisp bite and initial attack before evenly fading from there.

The New Nano Memory Man Deluxe: Very similar if not the exact voice and vibe to the two pedals above, the Nano provides a space saving format while still providing the same control set as found on the normal sized Deluxe. Compared to the 550TT/1100TT versions, missing is the tap tempo, effects loop, and expression. The price of course reflects these differences and it is more budget friendly. As the connection jacks are located on the sides (like the normal deluxe), depending on patch cables used, space savings may be negligible.

Memory Boy Deluxe: Wow! this truly is the Goth/Alt step-child of the Memory Man family. The repeats remain crisp and punchy but oh so much darker and moodier. I really liked this pedal — sounded great. Something about the voicing made it so very usable. Somehow it felt like the Memory Boy could be both present and articulate while, at the very same time, sitting back behind the live notes.

So this raises an important thought of consideration before one chooses between these particular EHX pedals, that of the desired voice/brightness level of the repeats. As there is no onboard tone adjustment – it is what it is. That said, I did not explore the loop function on the TT series and, perhaps, the possibility exists that one could deploy an EQ pedal in the loop, this providing exceptional control over the end voice of the repeats among other fun tricks.

MXR Carbon Copy Deluxe: Based on another staple of analog delays, the Carbon Copy, this deluxe edition adds some very fun and meaningful features. The base voice of the effect has a nice rich character while the tonal options provide just enough of a meaningful difference between. Control enhancements include: on-face granular modulation controls (speed and depth), tone options (bright or normal), optional expression control/input, and tap tempo with division controls. To the expression jack, it can be used with either an expression or aux-switch pedal, assigned to the various onboard controls or, used to switch/morph between two different setting configurations. Fun fact: the traditional Carbon Copy does allow fine-tuning of the modulation but, the depth and speed adjustments are controlled by internal trimpots.

As to the mix settings, and duly discussed in other threads, the on-face control does NOT culminate with ‘Full Wet’ signal strength; rather, this option is provided by an internal dip switch. After some discernment, if heard correctly, I’d suggest the [Mix] control maxes out around a 60/40 split of wet to dry signal. For U2-esuqe dotted eighth delay lines, one will have the pedal set between 3 ~ 5pm on the dial. This implementation allows for a lot of fine-tuning capability for more moderate settings — think: sitting back in the mix. To be honest, this felt a bit awkward at first if only because it was different from the range and working of the mix knob on other delays — almost a forced limitation — BUT, with just a little bit of time and an open mind, this mechanic worked perfectly fine. Perhaps a debate for further discussion, it may actually make better sense for the mix range be skewed in this fashion because, after a certain point, 70/80% wet, one might suggest diminished value in the resulting effect (not referring to scenarios that require 100% wet).

Way Huge Supa Puss: If the Carbon Copy Deluxe is the corporate Cadillac of the Dunlop line, the Way Huge Supa Puss is it’s funky and rebellious alter ego. The flavorful analog voice is there with full richness and, I possibly sense subtle high-pass filter to the repeats that comes into play, creating a pleasant wash with higher feedback settings.

The available controls are very similar to the Carbon Copy with a few key differences. New; one is provided the [Gain] control to dial in some saturation to the delay lines and, the [Tone] control now provides a sweepable range from dark to bright. While the optional expressional pedal control is limited to adjusting the delay time, the Supa Puss introduces a Chase Mode that, per their manual, “automatically cycles through the rhythmic subdivision’s, creating a unique ‘Shifting Delay’ effect”.  Remember what I said about the [Mix] control on the Carbon Copy Deluxe? Throw that out the window as the Supa Puss ramps up to ’11’ before even making it halfway around the dial. Its so quick in fact that Dunlop and other builders offer a mod to provide some breathing room to work with in the more subtle range of settings.

When taking pause to digest and savor the pedal and resulting effect in its entirety, considering its control offerings and mechanics thereof, all built on a great sounding analogy delay voice, it was for these very reasons that the Supa Puss ended up as my preferred choice.

Strymon Brigadier: With the ability to successfully recreate and easily dial in the voices and nuanced characters of many of the analog pedals discussed above, the Strymon Brigadier does not disappoint. The control mechanics are properly tuned; it’s quite easy to dial in most any sort of analog delay one would want. Simplicity without sacrifice. The pedal provides a nice selection of features to include a filter control (read: tone) which affords a nice range of voice options for the repeats. To the primary settings of the [Bucket Loss] control, unlike traditional analog delays, one is provided the ability to explore the spectrum of BBD character not directly tied to the actual delay time; from pristine delays to some true grittiness. To the ease of use and control mechanics, the sleek design and connection options, all speak to the Strymon pedigree we come to expect.

Eventide Rose: Like the flower for which its named, this hybrid delay contains such beauty and complexity. The classic delay tones are faithfully emulated through the unique combination of both digital and analog design components. I actually spent several weeks having great fun exploring this pedal — very captivated with its reverse function, this pedal has what feels like limitless shoegazing potential. If there is a thorny part of the user experience, the immense depth and complexity of controls can be a lot to retain and successfully navigate. To this, they do have a very fun and handy user guide which I assure you, will need to be kept handy. The Rose is a great tool and, in the beauty and uniqueness of controls and features, would make a great addition for one’s library of effects.

Eventide Rose


[Concluding Thoughts] 

Just to touch back on my the ‘Final Thoughts First’ shared at the start — all of these are great pedals. Each has some strengths that may speak better to ones specific needs or wants. For me, the Supa Puss, which wasn’t even on my radar at first ended up having just the right blend of features and personality — to note: I will be getting a unit with the [Mix} control mod. Again, a big thanks to Z String Music for providing access to all of these great pedals.

A book recommendation for the holidays | The Birth of Loud

A book recommendation for the holidays | The Birth of Loud

by | Nov 17, 2021 | Uncategorized

A book recommendation for the holidays | The Birth of Loud

Fall has arrived in Miami; temperatures actually dipped into the 60’s (oh Joy!). To the casual observer, changes between seasons can certainty be a bit more challenging to discern and, while the humidity is ever so slightly less, my go-to sign is the ever so nuanced change of hue in the light of the sun as its casts across the late afternoon sky; growing in warmth and richness as the season marches on. For it is at this magical time of day, on a lazy Autumn’s afternoon, that I would encourage one to take a break, turn off the electronics, put the guitar down, and jump into a good book. To those that would engage in such an exercise, why not enjoy a literary work, as but one simple option, that provides a greater understanding and appreciation for the musical instruments and tools we now enjoy if not take for granted, ‘The Birth of Loud’.

As to how I came upon this book, it was certainly not on my radar or something I was searching for. Rather, a relative with a shared love for music and guitars sent me a copy as a gift after stumbling upon it himself. While the first chapter or so takes a bit of time to build up some rhythm, soon after it becomes hard to put it down. As Ian Port faithfully jumps back and forth between the parallel, and sometimes intersecting paths that Les Paul and Leo Fender took as they raced towards the creation of the electric guitar, craftily woven throughout, the reader is treated to such wonderful stories of the masters musicians that help bring these instruments to life. Further, there are a few additional paths taken, discussions on recording techniques, amplifiers, and other gear, that help provide meaningful context; a more complete picture. I often found myself listening to the songs referenced, not for the first time, but now with a new appreciation for the tools and techniques used in their recording, often revolutionary for their time.

To pay this kind gift forward, I have since purchased many a copy of this book only, sending them to friends in the industry all across the country. Needless to say, it a great book and one that comes highly recommended.

 

 

 

Sketchbook Series: A Dance with the Sun

Sketchbook Series: A Dance with the Sun

by | Jul 12, 2021 | Music

Sketchbook Series: A Dance with the Sun

A variation of a theme that has found its way into a few recent compositions, the song was composed on a recent summer’s day, inspired while watching the late afternoon rays of sunlight playfully dance with the leaves in our garden. Recorded with just a few takes, no editing, the piece explores use of washy multi-head delays via the Strymon El Capistan, a touch of reverse delay from the Eventide Rose and, some deep vibrato effect from the Keeley Hydra. The imagery is a collection of stock videos, chosen to best convey some of the images that came to mind — like a daydream.    ENJOY!

 

Keeley Hydra & Strymon Flint

Keeley Hydra & Strymon Flint

by | Mar 28, 2021 | Compare & Contrast, Effects

Keeley Hydra & Strymon Flint

… and now, my thoughts as to the question of the hour, “How does the Hydra compare to the Flint?” Before answering let me share the methodology of this exercise. To start, the Flint was taken off the board and the Hyrdra was given more than a full week of focused use and exploration. The Flint was then added back to the board, side-by-side with the Hyrda, where all settings were explored and various combinations thereof. Focus was placed as to the controls and, how easy it was to switch between settings and make adjustments. My conclusion as of now? The Hydra easily keeps stride with the Flint and, as to which one is the right choice for the user may simply come down to preferences and priorities.

I found the quality of the reverbs and primary control mechanics to be on par. The Hyrda felt like it had a bit more range, especially with the secondary/bonus control per algorithm. In the larger spaces to be dialed in on the Hall/Room settings respectively, I found there to be more discernible differences in comparison to the other reverb voices. The Hall on the Strymon is a bit softer space (the walls sort of disappear as they virtually move farther out) while the largest rooms on the Hydra sound more cathedral like with crisper reflections as the waves bounce off.

With respect to the tremolo/modulations, the Flint focuses mostly on period-specific flavors of tremolo providing some rich and unique characteristics in each – the Hydra offers more diversity by providing the Vibrato. Each offers the level boost to make up any perceived volume reductions due to the nature of the effect. I do like how the Flint has a dedicated switch for a quicker selection between tremolo types.

As we get to the topic of function and design, it is here where we will see some of the benefits of the coming to the market many years later as the Hydra offers some additional utility functions and controls, specifically: the stereo tremolo can be set to pan between channels and, the stereo outputs for the reverb can be set between either a wet/dry or traditional left/right configuration. The most obvious distinctions are with physical layout — the Hydra is housed in a normal-sized enclosure with side inputs and the Flint is a bit wider with top inputs. Depending on the cables used, any space saved may be negligible.

As I look down at the board, I have a hard time – at least at right now — seeing these as anything but equals, each having just one or two unique strengths they bring to the table and, very honestly, I would have a hard time choosing between the two; this, after owning the Flint for many years. For those interested, here is my review of the Flint from a few years back: NDP: The Strymon Flint | Reverb & Tremolo.

Keeley Hydra: The mythical power of three

Keeley Hydra: The mythical power of three

by | Mar 27, 2021 | Effects, Review

Keeley Hydra: The mythical power of three

Perhaps a reference to the mythological three-headed beast or, intended to represent the power and characteristics of water, in either way one is so inclined to think of it, by providing the traditional effects of Reverb & Tremolo/Vibrato, the Keeley Hydra serves as a fantastic pedal to perfectly finish off one’s pedalboard.

[Quick Conclusions First]

For those that like to skip to the end, I’ve made this very easy …

The core functions and control mechanics are the strengths of this pedal; three absolutely solid reverb algorithms, three unique modulation options, three presets, expandable control options, and other meaningful utility features are all included. Encased in a standard sized enclosure, there are a multitude of onboard controls allowing one to quickly dial in desired settings while providing carefully chosen assignments for secondary controls (as needed), all facilitating a healthy sense of steadiness as one sets off on their exploration.

For those giving careful consideration to the Hydra, there are a few constructive critiques I walked away with after a few weeks of use. One or two of the ‘bonus’ features relating to the reverb effects were a bit underwhelming (to be explained more later) and, in having bigger hands, the top set of controls and switch placement can make things feel a bit cramped when needing to make quick adjustments. To the first concern, this is certainly a matter of taste and, when one considers it more of an add-on than that of a core function, it should not be assigned that much weight when determining the overall value of the pedal. To the second point, when providing this many on-board controls on a pedal of this size, I think the Keeley team provided a very effective and efficient layout that retains a clean design aesthetic.

[Context & Disclaimer]

To say these past twelve months were strange and chaotic would be the understatement of the year. Between the pandemic and our national elections, one could be forgiven if they found it difficult to keep up with anything else much less the latest news and updates from the music industry. With little ability to do much else at times, many turned to our instruments and these forums as a welcomed escape. That said, it remains completely understandable if various product announcements and related launches slipped past one’s radar.

I think I was mid doom-scrolling on the phone or, perhaps just browsing the forums one day when, out of the blue, the Keeley Hydra made its existence known, instantly catching my attention. I remember quickly jumping into some initial research, excitement and interest piqued, before being promptly dragged away by the distractions of life, not to think of it again for another month or two.

Of no surprise to forum veterans, I happened across one of the countless threads asking for alternatives to the Strymon Flint, the unofficial standard-bearer of trem/verb combo pedals. It was then that the Keeley Hydra came racing back to mind. I proceeded to watch the usual youtube videos but, in not having played the pedal personally, I only felt comfortable in raising awareness of the Hydra as a possible choice in forum discussions.

Given the popularity of this discussion, I reached out to the fine folks at Keeley to inquire if they might have some interest in a forum-based user review to include some element of ‘ compare & contrast’ to the Strymon Flint. After thoughtful discussion they kindly agreed to provide a demo unit with no preset expectations or explicit obligations (read: this was my idea and I’m not being paid.) Also, they were given no advanced viewing and will be reading this at the very same time as all of you if not after.

[Reverb & Tremolo, the Classic Pairing]

Well documented as to ‘the why’ and history, Reverb and Tremolo have commonly been included as a classic pairing of effects on guitar amplifiers from the early days of electric guitars. The Keeley Hydra sets aim to recreate this magic combo while providing modern day features and expanded functionality. After two weeks of thorough exploration and enjoyment thereof, I can easily and honestly say that the Hydra absolutely hits the mark.

Important side note: this is not Keely’s first pedal to deliver this combination of effects; the company still offers the Verb o Trem. It is however, a more complete solution offering greater independence of controls and usage of said effects.

On receiving the pedal, I purposefully opened the box and added it to the board without pre-reading the instructions (usually not a good idea); this, wanting to get a good feel for the intuitiveness of the control scheme and ease of navigation between settings. The momentary toggle switch quickly caught me by surprise but everything else was rather straightforward and well labeled. The use of a dual-purpose dial/push control at the center position is appreciated for its central location to the other controls, allowing for easy adjustment of secondary settings while not overcrowding the overall face/layout of the pedal. Perhaps something others would have quickly figured out, my first peek into the manual was in effort to learn how one switches between the modulation types – expectantly, it was simple enough.

Considering a holistic view of the control mechanics, I found Keeley to have established a healthy balance of primary and secondary controls and, of equal importance, properly prioritized and assigned the controls for optimal/ease of use and access accordingly. To this point, all but the Reverb Modifier [Mix Knob] and Modulation Selection [Option Switch] have been assigned to more utility-esqe functions: trem sync, trem level, effect order, and wet/dry configuration.

It’s here that I will highlight my first bit of constructive critique; the option switch is placed so very close to the middle control that, for someone with bigger hands and clumsy thumbs, it feels a tad cramped. If the switch and labels were all shifted down by just three or four centimeters, I believe it would provide one just the right amount of space to comfortably navigate said controls.

Before moving on from control mechanics, I’ll take this opportunity to highlight the ease of use and navigation of the preset system – simple enough even when switching by foot.

[Reflections on the Reverbs]

While there is certainly a subjective element inherent to such reviews, I confidently put forth that the reverb algorithms found on the Hyrda are of absolute solid quality. As I quite enjoyed the chamber reverb on the 30ms Double Tracker and, very often recommend the Aurora, it is safe to say that the team at Keeley continues to move forward in the right directions here.

Specific to the spring algorithm, there are debates to be found ad nauseam as to the level of authenticity and successful emulation, certainly the Source Audio True Spring is a crowd favorite and, as this continues to remain a matter of opinion, I will simply share that after spending hours, days, weeks, and months hands-on with countless reverb pedals, the Hydra spring algorithm excels; finding great comfort in spanning the range between amp and outboard-style implementations. With the settings increased, there is certainly a surf vibe to be enjoyed.

The Plate and Room algorithms provide a nice range of projected size and, to each, one can easily hear the nuanced traits of the medium (i.e. I get a visceral sense of response from the vibrating metal plate or, feel the reverberations off the surrounding walls providing hints as their material composition.) From my explorations over these past few weeks, I would suggest that for the larger room sizes to be found here, the effect is more cathedral-esqe than hall, and/or chamber-like in medium sized spaces; this, as I the reflections/trails provide a more articulate simulated response (like waves bouncing off tile surfaces) as compared to the diffusion that would occur with softer materials present.

Thanks to easily accessible secondary controls, the Keeley offers a customized attribute for each algorithm: Spring = age/vitality of the physical springs (e.g. punchy vs diffused), Plate = added Shimmer, and Room = size of space (this in addition to the dwell). It is here where put forth my second constructive critique: the shimmer effect, as implemented, left me a bit underwhelmed. Used with nuanced settings, it adds some very nice complimentary tones to the natural reflections of the plate. With more intense settings, and as the control is limited to dialing in an cascading octave-up shimmer, I found that it can play a touch of tug-of-war against the natural decay of the plate, especially when the higher frequencies are dampened via the tone control (read: a darker plate fades quicker vs. the rising shimmer tones). Just a suggestion that no one asked for, it would have been ideal if the shimmer control was neutral at the noon position with, in turning clockwise one was provided an octave-up shimmer and, adjusting clockwise from center provided an octave-down shimmer — with intensity ramped thereof. When considering this thought and keeping a healthy perspective, I’m discussing a bonus feature that may or may not see great usage to begin with (i.e. one’s motivations for purchasing the Hydra are probably never going to be focused on its shimmer feature).

[Diversity of Modulation]

Keeping this section succinct, the key takeaway here is that the Hydra offers three very complimentary and diverse selections of modulation appropriate for use towards the end of one’s effect chain to include: tremolo, harmonic tremolo, and vibrato. If ever to have been included on a classic amp, one will find it here …. well, for the most part at least (read: I am thinking of the chorus included on the Roland JC-120). The standard controls are provided in addition to a secondary level control to compensate for any perceived drop in volume with the effect engaged. Additionally, the order of the modulation and reverbs can be easily switched. I successfully dialed in a whole host of standard tones often associated with said effects.

[Concluding Thoughts]

I’ve already shared my conclusions at the start of this review but will take this opportunity to reiterate my opinion that the Keeley Hydra is an exceptional pedal that successfully brings together the classic effects of Reverb and Tremolo/Vibrato to include helpful pre-amp utility/routing functions. As with all of my reviews, I will keep tabs on the ensuing discussion and answer questions as best possible. As more time is spent with the pedal, I will make a point of updating this review if my thoughts were to change or there is something new to add.

As I have said many times before, guitar pedals and effects are not a one-size fit all sort of products, what I might enjoy and works well for my needs may not be everyone’s cup of tea. Accordingly, I try to focus on things like feature sets, control mechanics, etc. vs that of making bold proclamations like “this is the best, most authentic reverb ever”. Be sure to have fun and enjoy the journey! Thanks again to the Keeley Team for indulging me in this project and providing a demo unit to complete the exercise.