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anyone recommend a hardware analogue delay

hardware, software, tips and tricks
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Postby shmurkle » Tue Dec 09, 2014 11:59 pm

i I'm looking for something that i can get dubby with hand on stylee.

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.

cheers
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Postby Shum » Wed Dec 10, 2014 12:28 am

Boss RE-20: Space Echo the pedal version or any of the Boss delay pedals (which will be cheaper I suspect) will do the job.
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Postby fragments » Wed Dec 10, 2014 5:04 am

Forget about it being analog. Strymon El Capistan for sure.
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Postby test_recordings » Wed Dec 10, 2014 5:48 am

Rack or guitar pedal? Gear Slutz topic: https://www.gearslutz.com/board/so-much ... -used.html

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
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Postby outbound » Wed Dec 10, 2014 12:24 pm

Yeah guitar pedals can be great and inexpensive for this. Alternatively you may find some cheap/lo-fi units which are noisy etc and for that reason may be cheaper but great if you are looking for something a little more err analogue'y :)
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Postby AxeD » Wed Dec 10, 2014 12:58 pm

fragments wrote:Forget about it being analog. Strymon El Capistan for sure.


This or Eventide Timefactor.

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.
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Postby xtcvsmistycold » Fri Dec 12, 2014 2:54 pm

korg monotron delay is cheap and shit which are both good things at times
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Postby mks » Sat Dec 13, 2014 5:57 am

I use one of these. Got it cheap, but looks like they're going for $$$ theses days.

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Postby _Agu_ » Sat Dec 13, 2014 6:26 am

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?
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Postby mks » Sat Dec 13, 2014 7:43 am

Analog delay truly sounds different than digital delay.
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Postby xtcvsmistycold » Sat Dec 13, 2014 8:48 am

_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?


if you're performing live, you want a physical delay
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Postby cyclopian » Sat Dec 13, 2014 9:24 am

I would agree, delay's are one of the few 'fx' that you can really hear an analogue version compared to a clinical digital delay.
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Postby RADD » Sat Dec 13, 2014 9:25 am

xtcvsmistycold wrote:korg monotron delay is cheap and shit which are both good things at times


Was thinking about getting one of these as well


seems to be perfect for dubby stuff:
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Postby cyclopian » Sat Dec 13, 2014 9:44 am

I have one of those, and its insanely fun.

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.
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Postby RADD » Sat Dec 13, 2014 10:02 am

sounds great :4:

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?
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Postby xtcvsmistycold » Sat Dec 13, 2014 11:09 am

@RADD yeah like a dub siren in a set i do it all the time

you can set up some nice delayed feedback loops or generate the typical dub siren noise
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Postby cyclopian » Sat Dec 13, 2014 12:13 pm

^ Right now I have the FX send of my A&H oxone62 going to my monotron delay. So much fun. Set the monotron delay to some wonky setting and just use the send knobs on the mixer to muck about with the tunes during a mix; simple and fun.

Really tho, as much fun as it is, its really not a solid delay for most production purposes; its really more of a toy.
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Postby __________ » Sat Dec 13, 2014 3:57 pm

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


Yeah this.
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

Be patient
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Postby 3za » Sat Dec 13, 2014 4:44 pm

_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
Image

Fig B - DDL
Image

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!


xtcvsmistycold wrote:if you're performing live, you want a physical delay

Hardware, and analogue are not one and the same. Also you can use software delays performing live.
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Postby xtcvsmistycold » Sat Dec 13, 2014 7:05 pm

3za wrote:Also you can use software delays performing live.


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