Quick Link to Feedback Forum
looked around for the space echo re 201 but looking at £800 for one thats in full working order, and needs to be shipped from japan.
price range is probably £400 max.
SunkLo wrote: If ragging on the 'shortcut to the top' mentality makes me a hater then shower me in haterade.
I recommend just typing 'analogue delay' in to Ebay, craigslist and gumtree then looking for reviews of what comes up. Buy locally though if you can so you can hear it
This or Eventide Timefactor.fragments wrote:Forget about it being analog. Strymon El Capistan for sure.
I recently mixed a record with a lot of Boss RE-20 (pedal space echo).
It has the right sound, but maybe not as much control as you would like for
a studio effect.
Fully analog stomp format delay could be the mf-104m. You might be able
to get that for 400 quid, but it's a stretch.
Agent 47 wrote:Next time I can think of something, I will.
if you're performing live, you want a physical delay_Agu_ wrote:If we ignore all the "warmth" and "character" different equipment adds to the sound, doesn't delay basically just repeat the input signal with x amount of times with y volume? Would it be more beneficial to spend your money on a good sounding analogue synthesizer, and stick with digital fx?
I often run my microbrute or volca beats out into the mono delay, and then into headphones. I often spend hours just mucking about with the combinations.
That being said, I've never really found the sonic character of the mono delay to be actually usable in a tune. But for for 50 bucks, and the amount of hours of fun I've gotten out of that little thing, I'd say its worth it. Just don't expect to run that into a soundcard and get really usable results.
What about if you are mixing some tracks, would it be useable for this?
You are ending one track, send it to the monotron for some delays wait a bit then start a new track?
Really tho, as much fun as it is, its really not a solid delay for most production purposes; its really more of a toy.
Yeah this.test_recordings wrote:I recommend just typing 'analogue delay' in to Ebay, craigslist and gumtree then looking for reviews of what comes up. Buy locally though if you can so you can hear it
I remember in about 2009 I saw a RE-201, recently serviced, awesome condition, 5 miles up the road from me, for £400 on eBay. I'd spent about £400 on dubplates and ganja about a week before and of course couldn't afford it...was gutted
_Agu_ wrote:If we ignore all the "warmth" and "character" different equipment adds to the sound, doesn't delay basically just repeat the input signal with x amount of times with y volume? Would it be more beneficial to spend your money on a good sounding analogue synthesizer, and stick with digital fx?
SOS wrote:Having spent much of last month's Synth Secrets explaining the operation of a digital delay, and then pointing out how conceptually similar this is to an analogue bucket-brigade device, it's important to point out that they often sound very different. Most of us know this, of course, and know too which side of the analogue versus digital debate we come down on. But this raises a question whose answer is often assumed, but rarely explained. It's this: "Given the conceptual similarities between analogue and digital delays, why is it that they often sound so different?".
Fig A - analogue delay
Fig B - DDL
The diagrams below show the aforementioned delays; an analogue BBD with its anti-aliasing and reconstruction filters, and a digital delay line with its associated A-D and D-A converter. As you can see, the two are equivalent, with a stream of samples moving from the input on the left to emerge unmodified on the far right. So, if the sample rate and number of stages are the same in each, why do they sound so different?
The answer lies in the degradations that occur as the signal passes down the line. If there is no failure in the digital delay line, the same data will arrive at the D-A converter as left the A-D converter, so the only changes that occur when comparing the audio input to the audio output (other than delay, of course) are those imposed by the limitations of the converters themselves. In contrast, each Sample & Hold stage in the analogue bucket-brigade device will be affected by the limitations of the capacitors and by electronic noise, so each stage will add or subtract a small voltage from each sample. These errors are cumulative, and although an amount of positive voltage noise added in one place might be cancelled out by a bit of negative voltage noise in another, every sample will be modified by the time it reaches the reconstruction filter. If the errors are random, the resulting signal will sound the same as the original with the addition of white noise, but more often than not, there will be some form of systematic error introduced. Whether you view these differences between the input and the output as a problem or a benefit, however, depends on the kind of sound you favour, and possibly the prevailing wind of current fashion!
Hardware, and analogue are not one and the same. Also you can use software delays performing live.xtcvsmistycold wrote:if you're performing live, you want a physical delay
Sure_Fire wrote:By the way does anyone have the stems to make it bun dem? Missed the beatport comp and would very much like the ego booster of saying I remixed Skrillex.
Users browsing this forum: No registered users and 5 guests