Really, there are no rules when it comes to stompbox placement on a 'board, but there is a general order most guitarists stick to. Where should the delay go on your pedalboard? The MXR Carbon Copy does this very well, and in some ways, it's reminiscent of the worble found in retro tape delays.įind out more about how we test music gear and services at MusicRadar. This modulation adds a chorus effect to just the repeats, bringing an extra dimension to the sound. Some modern delay pedals offer the ability to adjust the tempo - and other parameters - via MIDI, meaning you can have your delay pedal respond in real-time to control information being sent from a laptop, switcher or another pedal.ĭo you wish your delay had even more movement? Well, perhaps you'd like a unit with a built-in modulation switch. As the name suggests, this feature allows you to manually input the tempo of the delay by simply tapping a switch with your foot. If you like your delay to be precisely in time, you may want to find a unit that offers tap-tempo. What features should I look for in a delay pedal?įor the most part, delay pedals are pretty simple, offering controls for volume, delay time and feedback - and for most of us, that's enough. That said, as the delay pedal evolved through time, as too did the features tucked away inside. Those looking to get extra experimental - such as post indie or progressive/atmospheric rock players will find themselves better suited to something more modern, with options for more affected and extreme delay times. Some guitarists prefer to use multiple delays running simultaneously throughout each section of every song – which means they’ll be needing something high-powered with dual modes and options for reverse, ping-pong and pad echoes to turn their guitar into a whole new instrument. Some lead players might just need one simple setting for every solo, and find they’re better suited to something like the MXR Carbon Copy – an all-analogue and true bypass favourite, though admittedly more of a one-trick pony compared to other options. (Image credit: Future) Which type of delay is best for you?ĭigital delays generally have cleaner echoes, analogue delays sound richer and darker, and tape delays degrade with each repeat. From icons like Tony Iommi and Joe Perry to virtuosos like Guthrie Govan and Brent Mason - plus modern heroes such as Mateus Asato and Jen Majura - the Flashback packs plenty of appeal for just about any kind of player - making it perfect for you. The list of users over the years speaks volumes. It’s big - but a real monster, especially if you’re a delay enthusiast.įor those that want something a little more classic and pedalboard-friendly, that still includes plenty of versatile delay models, the TC Electronic Flashback 2 is the pedal for you. It’s a massively capable pedal, churning out almost every delay algorithm you can possibly imagine. Best delay pedals: Our top picksįor those players on the lookout for the ‘ultimate’ delay unit, the Boss DD-500 Digital Delay flagship delay pedal is pretty much unbeatable. If you'd rather just get straight to the products, keep scrolling. If you'd like to read some in-depth, expert buying advice about this time-based effect, then click the link. Toggles for trails and kill dry.Delay covers a relatively wide range of tonal embellishments, from delicate slapback echo to other-worldly oceans of ambient fascination - hence why we thought we'd run through some of our favourites and the features which make them the best delay pedals of their kind. SpecificationsĬONTROLS Time (T), feedback (R), blend (L). There are other delays on the market that offer similar options, but the Delay Llama’s pure analog signal path ensures that no matter how extreme the effects are, they sound gorgeous. If you use the CV input to clock the delay time with a sequence of voltages that generates a desired interval, you can turn the repeats into a programmable sequencer.Īs you can see, the Delay Llama Xtreme is deep, but the controls are largely on the surface and make all the pedal’s features easily accessible. While these are not user editable, you can get variations by turning the feedback/interval knob. The last pattern is a five-mode sequencer that produces a series of multiple predetermined pitches in a specific sequence. Pitch-Shift mode provides five groups of pitch-shifted intervals selected with the feedback knob, and five playback patterns chosen with the level knob.
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