The ambiance that a good delay pedal can provide is invaluable. Most players keep one on all the time, sitting behind their core tone and giving them a bit of breathing room. Ambient and worship players create great walls of sound and combine them with their reverb pedals. Whatever you need in a delay pedal, we’ve compiled this list of the best delay pedals to help you pick a great one, ranging from a simple analog or slapback unit all the way up to the ultra-powerful, algorithm-driven mega-delays.
Our Review
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Almost as classic as its stablemate the Phase 90, the Carbon Copy has been delighting guitarists for years. This is a very simple and yet endlessly flexible pedal that relies on old fashioned bucket brigade chip technology to achieve its famously dark and captivating tone.
Bucket brigade chips work by passing the analogue signal along a line of capacitors at different points in the clock cycle. You don’t really need to know what that means, but the point is that this is nearly as authentic as it gets.
For controls, you get Regen (number of repeats), Mix (effect volume), and Delay (delay time up to 600 milliseconds), as well as a Mod switch, which allows the user to introduce even more tape-like artifacts. Two internal trim pots allow adjustment of the Mod switch so you can exactly dial in the effect you want when the button is pressed.
I played this pedal for years before switching to the baby brother of the next pedal on our list. It’s important to note here that bucket brigade technology lends itself to self-oscillation, which is the effect when a delay pedal feeds back on itself endlessly, leading to a huge spike in volume. It’s extremely cool if you like turning knobs and making noise.
If you don’t, spend a little time getting familiar with just how high you can have the Regen and Delay knobs before you’re into trouble territory. If you like a super-long delay, cut back on the Regen. If you like a super-long delay and play a lot of notes, you might want to consider another pedal on this list. This one is really ideal for mid-range times with medium-high Regen so you can bask in the glory of the warbling.
There’s a mini version of this, as well. If you want to go all out, try the Carbon Copy Deluxe, which adds tap tempo, subdivisions, and includes a Bright switch.
Check out the ProGuitarShop demo to hear what it sounds like.
These are fairly ubiquitous, so it’s easy to find these under $100 used on Reverb.
Specs:
- Type: Analog
- Delay time: Up to 600 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 26 mA at 9V
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When I finally relinquished the Carbon Copy I was using to its rightful owner (I’d been borrowing it the whole time), it was due to the fact that my wife bought me an EQD Disaster Transport Jr. We also didn’t opt for that one because the Jr. is recently discontinued. The beastly Sr., however, lives on.
If analog delay is your thing, this might be all you ever need. This can be used in the following ways, just to name a few: straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo. There are settings in here for every type and permutation of analog delay, all pointed directly to the old school experimental effects that began the trend.
This pedal is actually two in one. Delay A is controlled with the upper bank of knobs, which include Time (from 30 milliseconds to 600 milliseconds), Repeats (from a single repeat to self-oscillation), Mix (a gain-based control with unity at 12), Depth (modulation control), Rate (modulation speed), and Bleed (the amount it bleeds into Delay B). Both the Repeats and the Bleed are controllable through an external expression pedal. The EQD website recommends the Moog EP-2, but since that appears to be discontinued, the EP-3 may be an acceptable substitute.
Delay B is controlled with the lower bank of knobs, which include Reverb, Mix, Repeats, and Time (from 30 milliseconds to 300 milliseconds). The best approach seems to be to use Delay A as the one for exploration and discovery, while using Delay B in a more standardized, fixed configuration that generates the same amount of delay every time. Since you can feed them into one another, you have an exceptionally wide range of sounds available.
Even better, you can use one or both in either true bypass or tails mode, which gives you even more options in the context of your wider pedalboard. Choose this if you’re a sonic painter who gets bored easily.
Curtis Kent offers a nice demo of this unit that is nearly 15 minutes long.
The DTS has been out for awhile, so used ones are easy to find on Reverb for a decent discount off the new price.
EarthQuaker makes a few other delay pedals, too. Both the Avalanche Run and the Dispatch Master appear on our best reverb delay pedals post, and the third option is their modulated delay, the Space Spiral.
Specs:
- Type: Analog
- Delay time: 30 milliseconds to 300 milliseconds (Delay B) or 600 milliseconds (Delay A)
- Tap tempo?: No
- True bypass?: Yes, with optional buffered trails
- Expression input?: Yes
- Stereo outs?: No
- Power requirements: 100 mA at 9V
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On the whole, Way Huge effects are aimed at the retro crowd, especially folks working in the genres of rockabilly and surf. The Aqua-Puss keeps up with that fine tradition, offering a somewhat dark vintage-style delay meant for shorter times and adding a certain depth to guitar. It’s a pretty straightforward pedal that shares a little bit with the Carbon Copy above. What’s available for sale now is a reissue, but don’t let that stop you if you like the sound.
Knobs include Delay (time), Feedback (repeats), and Blend (effect volume). Perhaps even simpler than the DD-3 appearing later on this list, this will shine at short, slapback delay times, offering up the wet tape echo of days gone by. Because the maximum delay time is only 300 milliseconds, this wouldn’t be a good choice for people who need a lot of flexibility or long, dreamy trails. If you have that specific surf rock sound in your mind, consider this option.
If you decide you love the sound of the circuit but need that extra flexibility, Way Huge also offers the Supa-Puss, which gives you up to 900 milliseconds of delay and far more control over your output. It even includes a tap tempo and note subdivision to get even more nuanced. The catch is that it retails for quite a bit more, however.
The Reverb demo showcases what this pedal is best used for.
Speaking of Reverb, used versions of the MkII are a bit scarce, but if you don’t need the small form factor, you could try searching for previous versions to save you some money.
Specs:
- Type: Analog
- Delay time: 20 milliseconds to 300 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 16 mA at 9V
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If you’re in the market for a boost pedal as well as a delay, this is the option for you. Created for the benefit of country players in particular, this is meant to go in front of a great tube amp to provide that little bit of doubling delay and a push into warm breakup.
The Slap and Boost circuits are entirely independent from one another, with footswitches for each. Controls for the Slap side include Slap (delay time), Mix, Repeat, and EQ, or tone. The Boost side gets a simple level control.
Compared to the rest of this list, this is a very specific unit and doesn’t have nearly the flexibility of others. But, for some players, this will be just the thing their rig needs to polish up a perfect sound.
JHS makes much more involved offerings as well, including the Panther Cub analog delay and the Lucky Cat digital delay.
Andy Martin offers an excellent demo of this simple but effective unit.
Used examples should be easy to find on Reverb.
Specs:
- Type: Slapback/Echo
- Delay time: 0 to 350 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 27 mA at 9V
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The Memory Man is a monster in the delay world, and much like the Big Muff, there are a number of variants. Tone Report has a lovely tribute to the history and evolution of the lineage for those interested.
The currently available lineup includes:
There’s also the Stereo Memory Man with Hazarai, but to be clear, that is a digital delay. (And Hazarai just means, loosely, “all that extra junk,” in case you’re wondering.) For the latest and greatest in the evolution of the analog delay pedal known as the Memory Man, you’ll need this one, the Deluxe Memory Man 1100-TT.
This version compiles all the advancements in Memory Man design over the years, with a specific reliance on the NOS bucket brigade chips of old to achieve the long delay time. Control knobs include Blend to change the wet/dry ratio, Gain for the input gain from -13dB to +20dB, Rate for modulation speed, Depth for modulation amount, Feedback to determine the amount of signal fed back into the input, and Delay which sets the time between 52 and 1,100 milliseconds.
The Tap Divide button sets the note subdivisions for shorter delays to sync with your playing. Exp. Mode sets what is controlled via the external expression pedal, mapped to one of the six inputs. The other inputs include the signal Input and Output, Send and Return for an effects loop that only colors your delayed tones, and an external tap jack input allows for the use of a momentary footswitch.
The price difference and availability of the 1100-TT in comparison to the 550-TT basically comes down to the difficulty sourcing enough of the NOS chips to build them. If you don’t need all 1,100 seconds of delay time, the 550-TT is over $100 cheaper, usually easier to find, and still employs NOS Panasonic BBD chips. The very first Memory Man only had a maximum delay time of 300ms, and if it was good enough then, it could be good enough now. As you can tell from our list, analog delays usually top out around 600ms, anyway, so you’d still be in good company.
Check out the Pedal of the Day demo for sound samples.
These are a little rarer, so used prices on Reverb are still relatively high, though they can offer a good discount from new.
Specs:
- Type: Analog
- Delay time: 52 to 1,100 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: Yes
- Stereo outs?: No
- Power requirements: 200 mA at 9V
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Chase Bliss Audio is quickly challenging the dominance of Strymon when it comes to ultra-flexible, supremely powerful pedals. Every one of the company’s pedals packs enough function to equate to two or three pedals from lesser makers. There are two keys to their approach: 1. Pairing fully analog circuitry with digital control; 2. A suite of dip switches that moderate each pedal’s function.
On the Tonal Recall, the very first knob concerns itself with those dip switches. If none of the dip switches are engaged, this functions as a normal Tone knob, engaging a low-pass filter that ranges from ever-so-slightly brighter to the darkest of analog delays. When the dip switches are engaged, this knob converts to Ramp and sets the time for whichever functions you have selected via the switches. When an expression pedal is plugged in, it takes over for this knob. The left hand side bank of switches allows you to turn on ramping for Mix, Rate, Time, Regen, and Depth or to engage Trails, Bounce (modulation back and forth), and MotToByp (pedal is only activated when the footswitch is held).
The switches on the right for Mix, Rate, Time, Regen, and Depth determine whether these will rise or fall according to the Ramp knob or expression pedal. The last three switches, Tap Control, Tap Division, and Sweep further determine the function of the ramping.
Otherwise, you get knobs for Mix, Time, and Reneration as normal. There’s a Modulation section with Rate and Depth, as well as a toggle switch for choosing among triangle, sine, and square waveforms for the modulation. The leftmost toggle chooses note subdivisions assuming that the player is tapping in quarter notes. The SLB switch chooses between Short (20 to 275 milliseconds), Long (40 to 550 milliseconds), and Both delay times.
Finally, the switch between the Tap Tempo and Bypass footswitches allows you to recall presets. There are two preset slots, while the middle position reflects the knob position. If all that seems like a lot to take in, rest assured that you could play this for years without ever messing about with dip switches nor presets and still fall in love with it every time.
As with the Electro-Harmonix Memory Man 1100-TT, Chase Bliss also offers a version of the Tonal Recall based on reissued chips with an 1100 millisecond max delay time, called the Red Knob Mod.
The ever-delightful Knobs offers a great demo of this powerful pedal.
You may be able to score a deal on a used Tonal Recall on Reverb that can save you some big money.
Specs:
- Type: Analog
- Delay time: 20 to 550 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: Yes, with optional buffered trails
- Stereo outs?: No
- Power requirements: 150 mA at 9V
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This Boss delay is a cut-and-dry digital delay, meant to perfectly recreate your notes as many times as you like without any of the interference of analog signals. This isn’t for emulating the history of delay, but rather using it in a thoroughly modern context. Crisp, clean note repetition, neutral and unbiased.
You get knobs for Effect Level, Feedback (number of repeats), Delay Time (really a selector between three banks of time ranges), and Mode, which chooses the length of the delay depending on the Delay Time setting. There’s also a Hold option, which will hold your note as long as you keep the pedal depressed. Once you spend a little time with this pedal, you’ll be able to quickly dial-in the perfect setting so you can call on it for faithful note recreation.
I use the older version of this pedal, the DD-2, which has become a little bit harder to find. This is the update and works much in the same way. I use this with a longer delay time in line after the EQD Disaster Transport Jr. set to a shorter time, so that the analog-voiced signal cascades into this one for a lush effect. Occasionally, if I need perfect articulation, I’ll use only the Boss pedal.
Some reviews complain that the DD-3 is a little cold and sterile, but to a certain degree, that’s what you want in a simple digital delay. You should get your interesting tones from other pedals and use this to simply repeat them.
Boss offers far more than just the humble DD-3 when it comes to digital delays. First, you can upgrade to the DD-3T, which adds tap tempo to this device. Next is the DD-7, which is stereo and adds a few different delay types. The DD-8 adds even more delay types, looping, and the longest delay time of their compact units.
If none of those are enough for you, move up to the newer DD-200, which strikes the balance between compact stompboxes and the maximal power of the mega-delays. If you want it all and you want it from Boss, go for the DD-500, which should do anything you could ever want.
This Julian Doe demo shows you some rather interesting ways you could use this, over and above the obvious settings.
These are super easy to find under $100 used on Reverb.
Specs:
- Type: Digital
- Delay time: 12.5 milliseconds to 800 milliseconds
- Tap tempo?: No
- True bypass?: No
- Expression input?: No
- Stereo outs?: No
- Power requirements: 35 mA at 9V
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Building on the success of their equally-excellent Belle Epoch, Catalinbread have gone back to the drawing board to even more closely replicate all that’s great about the EP-3. This includes the crucial addition of the 22 volt power rail within the part-for-part circuit recreation. Paired with a 24-bit digital delay, you get a fully modern EP-3 with a few bells and whistles thrown in.
The first knob chooses the delay program, or voice. The first is the EP-3, followed by a BBD-style analog delay emulation, Roto-Swirl, sweeping resonant filter, Deluxe Memory Man Chorus, and Deluxe Memory Man Vibrato. Depth controls the modulation, Record Level sets the tape saturation, Echo Volume controls the output, Echo Sustain the feedback, and Echo Delay sets the time from 80 to 800 milliseconds.
You can plug in an expression pedal which is governed by a toggle switch that allows you to choose between D for delay time or V, which changes volume, filter sweep, or rotary speed, depending on the program. Aside from the bypass, the other footswitch is Echo Oscillation to send the pedal into wild repeats. This is set using an internal trim pot for precise levels of mayhem.
The product demo gives you half an hour to familiarize yourself with all the various functions.
Good savings are available on used versions of both pedals on Reverb.
Specs:
- Type: Tape
- Delay time: 80 to 800 milliseconds
- Tap tempo?: No
- True bypass?: Yes, with optional buffered trails
- Expression input?: Yes
- Stereo outs?: No
- Power requirements: 200 mA at 9V
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Originally released in 2008, this update increases the delay time, adds soft switching, and allows for note subdivisions. Unlike some of the other pedals on this list, it isn’t overloaded with additional functionality — just a straightforward tape delay sound.
Controls include Rate and Depth for the modulation, Tone, Repeats, Delay Mix, and Delay time. Note subdivisions include ¼ note, ⅛ note, dotted ⅛ note, and triplets. This can be used in a very subtle way, but if you turn up the delay time sufficiently, the sound degrades and distorts as would a pushed tape unit.
Andy Martin ably demonstrates this excellent-sounding unit.
Both the original version and V2 can be found for relatively cheap if you buy used on Reverb.
Specs:
- Delay time: 20 to 800 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 40 mA at 9V
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Packaged into a conventional MXR/bud box style enclosure, this pedal in some ways led the charge for Echorec recreations. Like the Belle Epoch above, this pedal was designed by Catalinbread’s Howard Gee (along with a little help from his friends, including Jack Pineda of Mr. Black), who always brings a careful ear to his projects.
The Swell knob adjusts the feedback of the delay according to which playback heads are active as set by the Program Select knob. That knob contains the 12 original combinations of playback and recording heads selectable on the original Binson.
Otherwise, you get the standard controls for Tone, Delay Time, and Mix. An internal dip switch allows you to choose between true bypass or buffered trails mode. You’ll also have the choice of running it at 9V for standard operation or 18V for higher headroom and better repeats separation.
Stefan of The Pedal Zone puts one of these to good use.
These have been out for a little while, so with a little bit of luck you should be able to find one used on Reverb under $200.
Specs:
- Type: Echorec/drum
- Delay time: 40 to 1,000 milliseconds
- Tap tempo?: No
- True bypass?: Yes, with optional buffered trails
- Expression input?: No
- Stereo outs?: No
- Power requirements: 70 mA at 9 to 18V
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Coming to us from just across the Adriatic from the folks building the Echosex, this unit ups the ante on interesting control interfaces. The small form factor preserves pedalboard space, and the specific orientation may help it slot in around your other pedals.
The most apparent difference on this pedal is the four Playback Heads buttons. By using this interface, the Boonar extends the normal 12 programs of an Echorec to 16. These light up when active so you have constant feedback of your program selection. Speaking of visual feedback, the Level Indicator LED at the top of the unit blinks to indicate the input and delay levels. Additionally, the Boonar extends the delay time with the Drum Speed knob, differing from the Binson’s fixed head.
There’s a Volume knob for the obvious purpose, and this works with an Input Control trim pot on the right side of the pedal for level matching or driving the unit. Bass/Treble is the tone knob, Swell is the feedback control, and like the Echosex, there’s a trim pot on the top to dial in the Drum Age.
The left footswitch allows you to feed some of the signal from all four playheads into the output for a reverb sound. Internal dip switches allow for true bypass or trails, as well as a selection between the original 47k ohm Binson circuit or a modern 1M circuit for more high end and volume. Another internal trim pot changes the dry level and ships set to unity.
This is a well thought-out device with an interesting control interface that combines everything there is to love about modern Echorec recreations.
The demo by Brandon Marsella offers over 20 minutes of sound samples and walkthrough.
These are quite rare, but if you keep your eyes peeled, you may find a used example on Reverb.
Specs:
- Type: Echorec/drum
- Delay time: 40 to 1,000 milliseconds
- Tap tempo?: No
- True bypass?: Yes, with optional buffered trails
- Expression input?: No
- Stereo outs?: No
- Power requirements: 200 mA at 9V
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If everything we’ve shown you so far hasn’t been quite weird enough, consider this Old Blood Noise Endeavors unit. The whole company seems dedicated to the idea of wildness and weirdness, so naturally the first pedal they produced would be in this vein. If you’re looking for accurate repeats, you’ll want to return to other items on this list. If you’re looking for a distinctive voice with a high degree of control, read on.
This pedal includes controls for Time, Feedback, Mix, and Fluid, which adjusts the amount of wobble in the delay. Basically, Fluid is the thing you want to focus on if making something sound weird is your jam. There’s also a switch for choosing between Modern, Vintage, and Organ circuits. The Modern and Vintage are very similar, but Vintage introduces more noisy artifacts that emulate older units. The Organ circuit is a short delay effect and can also be used as a spring tank reverb. In Organ mode, Time and Feedback become Rate and Depth.
This pedal allows for unique layering since it doesn’t self-oscillate even at max Feedback and 100 percent wet signal. A dip switch on the inside sets whether the expression pedal controls the Time or Fluid parameters. Warm, weird, and delightful.
If that’s not quite your speed, you could also check out OBNE’s Mondegreen, which is digital and modulated.
The product demo video is just as strange as the pedal itself.
Used ones can save you a decent chunk of change on Reverb.
Specs:
- Type: Oil can
- Delay time: Up to 211 milliseconds in Organ Mode, up to 800 milliseconds in Modern and Vintage Modes
- Tap tempo?: No
- True bypass?: No
- Expression input?: Yes
- Stereo outs?: No
- Power requirements: 60 mA at 9V
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Among delay pedal enthusiasts, this is the original king. Relying heavily on what Line 6 is known for, this unit contains carefully recreated emulations of many well-loved designs throughout pedal history. As the company points out on its website, you’d probably be hesitant to bring out your vintage, one-of-a-kind effects for a tour, and that’s where this battle-tested pedal shines. It debuted in 2000, but has become nearly ubiquitous on stage and kind of kickstarted the need for delays to have tap tempo on-board.
Controls include Model Selector (choose between 16 vintage models), Delay Time (varies by delay), Repeats, Tweak (controls one parameter of the preset), Tweez (controls a different parameter), and Mix. The models available to choose from include: Tube Echo, Tape Echo, Multi-Head, Sweep Echo, Analog Echo, Analog w/Mod, Lo Res Delay, Digital Delay, Digital w/Mod, Rhythmic Delays, Stereo Delays, Ping Pong, Reverse, Dynamic Delay, and Auto-Volume Echo. In addition to all of those, you get a 14-second loop sampler, which expands the utility of this pedal even further.
Unlike many that came before it, this pedal comes with tap tempo so you can set the delay time to match the beat of your track. The other switches allow for using three presets, or, while in loop mode, controlling the recording and playback of the loop. Most players will mess around until they have their presets in place, then rely heavily on those to get through the set.
As with the Disaster Transport, you can purchase a separate expression pedal to dynamically control a given parameter while playing to add even more feel. This is a proven choice and is meant to collect a wide variety of well-known sounds and put them in one place, but has finicky power requirements and is somewhat prone to unreliability. It’s showing its age, certainly, but some people still prefer this over newer offerings.
Of course, these days, anything in the Helix line will offer all the same benefits and more.
This can do so many things, it takes about half an hour to demo it.
You can get these for less than half the price of new when you buy used on Reverb, but they may come to you with gremlins. Might be best to go new with this one.
Specs:
- Type: Modeling
- Delay time: Up to 2,500 milliseconds depending on setting
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: Yes
- Stereo outs?: Yes
- Power requirements: 1,200 mA at 9V (hey, it’s getting old, give it a break)
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I watch my fair share of Premier Guitar Rig Rundowns and I can tell you that this pedal and the Strymon Timeline (also on this list) make their appearance on many a well-outfitted pedalboard. Building off of the success of the Line 6 DL4, this Eventide model follows very closely in order to produce one of the most flexible delays ever made.
Nine delay effects combine with a 12-second looper in this powerful, dual delay unit. For knobs, you get Mix (overall effect mix), Dly Mix (from 100% Delay A to 100% Delay B), Dly Time A (time), Dly Time B, Fdbk A (repeats), and Fdbk B. Xnob, Depth, Speed, and Filter all change various parameters depending on which delay model you’re using.
There’s also a knob to select the delay type, which by pushing also controls the tempo. As a major improvement on the DL4, the delay time displays on the readout. Eventide calls this delay “futureproof” since it’s upgradeable with the USB port included in it.
Even more incredible is that this pedal can be controlled via MIDI, expression pedal, or external footswitch. You get inputs and outputs for both guitar and line level, depending what you’re using it for. This is an incredibly robust option meant for the obsessively dedicated. In the guitar world today, it’s perhaps only bested by our next pick.
You could spend months of your life dialing this thing in and never get bored. Fortunately for you, it comes pre-programmed with 100 presets to get you started quickly. If you need to recreate something you had in the studio, choose this option. Some prefer the smaller H9 these days, which can run any algorithm from any Eventide pedal.
The ProGuitarShop demo of this pedal comes in two parts: section one and section two.
It’s possible to grab used examples of this on Reverb for around $200.
Specs:
- Type: Modeling
- Delay time: Up to 3,000 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: Yes
- Stereo outs?: Yes
- Power requirements: 500 mA at 9V
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If you looked at the Eventide and thought to yourself, “Hm, not bad, but what have you got in the way of…more?” then you are a madman and I applaud you. Fortunately, someone has taken it upon themselves to design a unit just for a guitar player like you who have an insatiable need to stare at a tiny, tiny LED screen and turn knobs for hours at a time. This pedal is ubiquitous, making appearances on every other pedalboard photographed for the internet’s amusement. You can’t get away from this thing.
With virtually all the same controls as the Eventide with slightly different labeling, the TimeLine gives you access to 12 delay types, which include digital, dual, pattern, reverse, ice, duck, swell, trem, filter, lo-fi, d-tape and d-bucket, as well as a 30-second looper. A verse pattern in a pop song is unlikely to last even quite as long as this looper will let you record. All of this is immediately at your finger tips with 200 presets available when you open the package.
This unit is so advanced and powerful, it can be used in place of rack gear or software in the studio. If it’s a delay and you might use it, you’ll find it in this sleek box. The only major downside to this product is the price tag, which is not insignificant. It’s almost certainly overkill for most people, but if you want it all, it’s available to you here.
This is far from Strymon’s only delay offering. They also offer the tape-based El Capistan, analog-style Brigadier, slapback-focused Deco, the dual digital Dig, and the outstanding new Volante.
Rhett Shull shows you five delay tricks using the Timeline to give you an idea of what it can do.
A used Timeline on Reverb can save you a considerable bit of cash when you’re ready to buy.
Specs:
- Type: Modeling
- Delay time: Up to 2,500 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes
- Expression input?: Yes
- Stereo outs?: Yes
- Power requirements: 300 mA at 9V
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If those last few were too large for your pedalboard, this TC Electronic is a slightly different take on modeling delay architecture. Rather than having a particular sound of its own, the Flashback Mini is enabled with TonePrint, which is a completely digital recreation of any number of hundreds of delays available at no extra charge from the manufacturer’s website. While others store everything onboard, the Flashback relies on an assist from your smartphone to deliver an enormous library of tones, as well as the ability to design your own from the ground up.
Simply edit your effect on the computer, connect via USB, and bang, you have your perfectly-modeled delay pedal in this tiny housing. Once it’s set up with the delay of your choosing, the pedal is controlled with three simple knobs: Feedback (repeats), Delay (time), and Effect Level.
By giving you the extreme flexibility of an all-digital solution, you can get back some of the massive list of options available on the Eventide and Strymon, even if you’re stuck with only one of them at a time.
The price is right on this for what it gives you access to: a virtually inexhaustible catalog of delay effects. If you like to tinker but you need your board space, this is the option for you. They also make the Flashback in nano and X4 configurations, which give you more switching options within the pedal — it all depends on how much you want to spend.
The Flashback 2 is especially noteworthy with the inclusion of the Mash function, which turns the footswitch into a magnet-driven expression pedal capable of controlling a wide variety of parameters on the fly.
Andy Martin’s demo includes the TonePrint names for your reference later.
Plenty of used examples of this are available on Reverb for short money.
Specs:
- Type: Modeling
- Delay time: Up to 7,000 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 100 mA at 9V
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One of the newer entrants in an already-crowded field is this fantastic offering from Walrus Audio. In this modern, relatively-compact unit, there are four delay types: Digital, Analog, Lo-Fi, and Slapback. All but one of these are governed solely by the Tap switch at the bottom right in lieu of the typical time knob you might find on other delay pedal units.
The knobs it does have include Level, Dampen, Repeats, Ratio, X, and Program. Program selects between the four delay styles, which then changes the function of the X knob. In all but Lo-Fi mode, this knob controls the depth of modulation, while in Lo-Fi, it controls the width of the filter.
Level and Repeats are straightforward. Dampen is a tone control that gets brighter as you turn it clockwise. Ratio controls the tempo subdivisions in Digital, Analog, and Lo-Fi modes. When using the Slapback algorithm, the Ratio knob becomes the more-expected time knob.
Otherwise, you get modern top-mounted jacks, as well as a remote tap input. There’s an optional Trails mode, as well as a momentary function that allows you to use the Bypass switch as a ramp for the X parameter. This easily makes up for the lack of an expression pedal input.
This is really primarily a modulated delay pedal and will probably mostly be used as such. However, if you turn the X knob all the way down, it’s simply a very fine, compact delay modeler.
Rabea Massaad offers a lovely overview of the ARP-87.
On any given day, you should be able to find a used unit on Reverb to save you a little money.
Specs:
- Type: Modeling/modulated
- Delay time: No knob — entirely tap tempo driven
- Tap tempo?: Yes
- True bypass?: Yes, with optional buffered trails
- Expression input?: No, but has a tap input jack
- Stereo outs?: No
- Power requirements: 100 mA at 9V
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Yet another Catalinbread offering (they’re really on their game over there), this falls into an emerging category that includes the Montreal Assembly Count to Five and the Malekko Charlie Foxtrot.
These are all glitch/stutter sampling delays, achieving their delightful weirdness through a variety of means. They’re all unpredictable in their own way and all aimed at finding new methods of expression. For the Csidman, everything old is new again as this is a purely digital delay that uses the circuit from a Discman (minus the anti-skipping feature!) to create a unique glitching delay.
Though it’s weird, the controls are pretty easy to grasp, especially if you understand that most of this pedal’s functions are random. Time, Mix, and Feed perform their usual functions, while Latch and Cuts control the oddness. Latch determines the relative time that the delay is skipping and at its lowest setting, it doesn’t skip at all so you can use it as a traditional digital delay. Based on that time, the Cuts knob determines the sample rate or the buffer length. Give something weird a try.
A weird pedal requires a weird demo, and that’s kind of Dennis Kayzer’s niche.
There aren’t a ton of these available used, but certainly worth a look on Reverb before buying.
Specs:
- Type: Glitch/Stutter
- Delay time: Up to 725 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 60 mA at 9 to 18V
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“Granular” is a word you see a lot in descriptions of this newer breed of experimental delay pedals. It’s true of the Csidman, Count to Five, and Charlie Foxtrot, as well as the Chase Bliss Mood, and it’s true of this one. All it means is that to achieve the stuttering, the signal is divided into smaller parts which are then repeated or mangled in some way.
The Particle gives you significant control over these parameters, which also includes pitch shifting. Blend and Feedback are the obvious controls, while Chop controls the size of the grains or the Freeze threshold above noon. The other knobs map to the mode selected with the eight-way selector knob.
Five of these modes (Dens, LFO, Rev, Pitch, and Rnd) are delay modes and three (Dens, LFO, Detune) are pitch. The Pitch/Delay knob sets either the delay time or the pitch shift depending on the chosen mode. A switch on the right side sets whether the external expression pedal controls the Pitch/Delay knob or the Param knob.
This is the second version, which adds preset capabilities, tap tempo, note subdivision, and freeze. For experimental sounds, this is quite an effective toolbox with a lot of options.
Once again, Dennis Kayzer is the man for showing you the wonderful things this can do.
These are a relatively rare sight used on Reverb, but you could opt for the first version and save some money that way.
Specs:
- Type: Granular
- Delay time: Zero to 900 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: Yes
- Stereo outs?: No
- Power requirements: 100 mA at 9V
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Despite an entire stable of pretty weird stuff, if you read the copy in the manual for this pedal, even its maker appears afraid of it. The core of this is a melting delay with constant downward pitch shifting that you cannot control. This is essentially the opposite of the upshifted, oh-so-popular shimmer reverbs that everyone either loves or loathes entirely.
Despite the warnings of nighmarish results, the controls on this are your basic delay parameters of Level, Regen, and Time. If you’ve read this far, I’ll assume you know what those knobs do. Buy this pedal to inject a little weirdness into your signal so you can peer into the abyss. Is it a one-trick pony? Absolutely. Should you have it on your board, anyway? Probably.
There’s also a “Broken Dream of the 90s” Special Edition available, as well as their much more rational Echo-Delay.
Mike Hermans offers a nice demo of this very strange pedal.
This is pretty rare on the whole, but you can occasionally find a used one for a few bucks off on Reverb.
Specs:
- Type: Modulated
- Delay time: 20 to 800 milliseconds
- Tap tempo?: No
- True bypass?: Yes
- Expression input?: No
- Stereo outs?: No
- Power requirements: 60 mA at 9V
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Landing in the realm of the Eventide and the Strymon is this super-powerful offering from Empress. This monster has 12 algorithm types – Digital, Tape, Analog, Multi, Mod, Filter, Ambient, Delay + Reverb, Reverse, Stutter, Lo-fi, and Whisky – all with variations for a total of 36 delay sound types.
While some prefer the screens of the other mega-delays, this interface is intuitive in a different way, which some might prefer. In addition to the Mode selector, there are knobs for Feedback, Tone, Delay Time/Ratio, Mix, and Output. The Delay Time/Ratio knob controls the time or, when using tap tempo, it sets the subivision.
There are also knobs for Thing 1 and Thing 2. They’re used to change various parameters depending on the delay mode selected, including modulation, saturation, panning, and more. There’s also a multitrack looper hiding within, should you need it.
The LED to the right of the Tap tempo switch is multi-color and changes according to the delay mode or current looper fucntion engaged. Five LEDs across the middle of the pedal represent preset banks for holding up to 35 presets of your design. On top of all this, there’s an analog dry-through and a cabinet simulator for recording without an amp.
This is immensely powerful and with the flexible output options, you should be able to do everything you’ve ever wanted to do with a delay pedal. Empress also make an oustanding tape-style delay that is a bit easier to use.
For a taste of how it sounds, check out the Pete Thorn demo.
Used versions are available on Reverb and can save you a considerable amount if you’re lucky.
Specs:
- Type: Modeling
- Delay time: 20 to 1,200 milliseconds
- Tap tempo?: Yes
- True bypass?: Yes (optional buffered)
- Expression input?: Yes
- Stereo outs?: Yes
- Power requirements: 300mA at 9V