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Discussion in 'The Stomp Box' started by bluesholyman, May 16, 2018.
yeah i prefer digital emulation of analog
If I were rich, I would hire that guy from police academy to be my delay.
BTW I am really disappointed in you all, I bet because of this thread I buy an analog delay to try.
I already have an $80 credit in my reverb account.
Maxon AD900, AD999 Pro and AD9 Pro.
Not the AD9 though.
The AD900 is probably the best on the list but the other two have multi "head" capability which I like.
My favorite delay sound is a big stone or concrete room, and I "busked" for years not to make tips, but to hear the sound of music as I played it.
Sheetrock is fine too if the space is right and not full of absorbent stuff.
Had an old curved soprano sax I'd bring to work and play in the subway or a few choice mall halls, and even the huge halls in an old military complex where I worked in a cabinet shop. Sometimes flute too.
6:30AM wake up call to nobody, until the boss arrived with the keys.
God I love the sound of music!
I think it's one of those you say pa-tay-toe and I say puh-tot-toe.
"Oh, oh but analog is so much warmer". Bwahahaha
Well among other things if I was using a slapback where I wanted to hear each note say, twice, I'd be very unhappy with any delay that changed to sound of the repeat at all. So I might prefer a DD for that.
I have also run the wet side into a second channel allowing channel tone control of the repeats, when experimenting with slapback. Not sure if that's nutty.
But that's not what I use delay for so I have different expectations.
WRT the attack or the bright clang or whatever, I've certainly had ADs with too much attack on the first repeat.
IIRC I've tried running a delay wet side into a comp to soften the attack, but didn't like the results.
I haven't played a DD in a while and never tried to explain how I hear the sound of whichever one it was. I suspect there is not really a good way to describe any sort of dynamic range, or combination of tone and dynamic range.
Like you said, we all have our ideas of how we want our sound to happen.
An AD will give each repeat a slightly less distinct sound, and I'd guess that both the chip and the circuit determines how much each repeat loses tone and attack.
If you want one or two repeats of slapback, and want them to sound like the initial note, then IMO that's almost an entirely different tool.
Kind of like the two sides of a hammer, one sharp and one blunt.
I'd guess that's why most here use both AD and DD!
Personally I find my AD pedals to be the most difficult piece of gear to dial in, to the point where it's hard to get a setting back if the knobs get bumped.
I found DD just as hard to dial in, so it's delay in general that is so easily either too much or not enough for me, and for ambience/ reverby function.
I just checked a delay that's set and the mix knob is around 8 o'clock where 7 is off.
7:45 is too low and 8:15 is too high; that sort of hard to dial in.
Of course this sort of sound falls apart in a dense mix, and also doesn't really sound good recorded.
Drums are oddly hard to record, with results that sound good.
WRT why it can sound nice live but terrible recorded, I suspect that removing the experience in the space with the performers, and isolating only the sound, music becomes a different thing.
Many consider a recording of music to be MUSIC.
To me it is more like a poster of a Van Gogh.
With no actual event before you, the recording pales in comparison.
Which is fine, and most people will never in their lives stand in front of Hendrix performing, or a Van Gogh.
TC Electronic Triple Flashback delay (which has some cool analog emulators) and a 6G15 Reverb gets a lot done for me.
I actually just bumped my Strymon El Cap from my board with, of all things, a Carbon Copy. I’ve had many digital, analogs, and tape emulators. I love the sound and feel of analog. The Carbon Copy is only temporary. I think I’m going to get an Analogman ARDX20. I just want a slap back and long delay setting.
It is interesting. I've owned all of the Maxon units you mentioned and moved on from them. Though the multi-taps available in the 999 were admittedly fun!
To me, analog delays sound very artificial. Whereas digital sounds very natural - the way echo happens. A real echo in a cave or canyon has high fidelity to my ears. It's close to an exact copy that just gets quieter each time. Much like a good digital.
I could, of course, be all wet.
Over the years I have owned 4 delay pedals ... digital, analog, cheap and expensive including the Belle Epoch out of desperation, but in the end, I'm a reverb player through and through. I am done with delay. To those who play delays well, I admire you, I am jealous of you and I hate you.
Sounds definitely change frequency content when they bounce off walls, not just volume. But they don't turn into mud on the first repeat like a bucket brigade delay. I think digital is more natural sounding than a BBD. I think most BBD users must be rock players who want that syrupy thick lead thing that BBDs do.
I think the most natural is tape, because each additional repeat loses frequency range in just the right way. But, the hiss. It's like a canyon with a noisy stream in it.
I like both. I’ve had a Seymour Duncan vapor trail, an Aqua Puss, and a Boss DM-3. The Aqua Puss was fine but not as good as the Vapor Trail. I sold those. I’ll keep the DM 3 because it gives me a classic analog sound but I mostly use my Eventide H9 for my delay needs. Every sound I could want with some great stereo action. I like the complex delay sounds I can create with it. I have a Boss DD7 for backup and for using with keyboard or vocals.
I was just about to say that the H9 has all the delays -- including decent analog emulations -- that I'll ever need.
On the other hand, I greatly prefer the analog BBD modulation effects of the Moog Cluster Flux over their digital counterparts especially the vibrato and chorus. I know its a bit OT, but the more I use it the more I love the CF. Very pricey but incredibly feature rich.
But overdrive is compression.
I have a DD3 and DD7. So I guess I'm digital. I'm good with that
I really like both, I have an EHX Memory Boy (Analog), EHX Stereo Memory Man with Hazarai (Digital) and get a good amount of opportunity with a Digitech DL-8 (digital) fairly frequently as well. I also really only enjoy true amp spring reverb in the subject of echos and reverbs.
My order of necessity would go as follows:
1st: Analog Delay
2nd: Spring Reverbs
3rd: Digital Delay
4th: all the crazy delays (modulated/tape, reverse, echos, oil cans, octave, etc.)
5th: other reverbs (lo-fi, plate, reverse, flerb, shimmer and so-on).
I've read that a lot. I'm not a technical person. So I don't really know.
All I can say is that on the amp that I use, if I hit harder, it gets louder. As much louder as I expect, based on how hard I hit it. Even if it is already overdriven. No tube amp I've used has ever done that. Once overdriven (or often even once on the edge) they stop getting louder to the extent I expect, based on how hard I hit them. Often they no longer get appreciably louder at all.
That's interesting. I can't imagine a sound that's distorted at all, that can still get louder. My best guess is some frequencies are clipping before others to make that possible.