I hate analog delays.

I think it's a good thing that players can choose any device that provides the sound they're looking for. It's not a matter of what is "best" or "worst". It's easy to forget that there was a time when you had barely a fuzz and/or a wah-wah pedal to modify your sound. Given the myriads of pedals that are available nowadays, a player can assemble a set that allows to create the sound that he or she considers it's the most adequate to his or her needs.

I'm pretty happy with the analog EHX Memory Boy that I have on my pedalboard. It provides both subtle delay and chorus that is just perfect for what I want. One thing, however, I can't get from it, which is "infinite repetition". For this, I have to grab my EHX #1 Echo, another good, clear-sounding, digital pedal. Then again, I rarely need that "infinite delay", so this pedal is kinda a backup.

Guitar, pedals and amps are no more than tools - yes, they are cool and we all love them, but in the end, they're tools to making music. So, I would say that the only rule that applies is: "use whatever you need to get the sound that pleases you the most, and enjoy it".

Best regards.

 

I absolutely love analog delays, but I definitely see the use for digital delays in some situations.

I think the thing that I get the most out of analog delays is the dynamics. It's just not something you can replicate with digital repeats. The Carbon Copy, for example, reacts to your playing dynamics, whereas something like the Flashback just does clean repeats. Like I said, definitely applicable uses for both, but if I had to choose just one, I'm going with an analog unit.

All that said, I'm a total delay snob. Currently have five delays in my pedal chain: Moog MF Minifooger Analog, TC Electronic Flashback Digital, Boss DD-7 Digital, MXR Carbon Copy Analog, and Jim Dunlop Echoplex (is this analog or digital? It has to be a digital replication of the EP-3, right?). I don't just love analog delays because they say that's what they are on the tin. I've tried out, and really did not get along too well with: Way Huge Supa-Puss, MXR Carbon Copy Bright, Electro-Harmonix Memory Boy, TC Electronic Echobrain, and the Mad Professor Deep Blue (isn't this some weird analog/digital hybrid thing? In any case, it just didn't work out for me).

Ultimately, delay is a sound that I think sounds damn great in just about any well-used setting. I just really love the idea and I think, no matter what flavor of delay you prefer, it brings out inspired playing when you find your sweet spot.

 

I completely disagree with your assessment that digital delays lack dynamics

 

I have two old DM3s and a DM2. I use them for really short delay , almost as a doubler to fatten up singlecoil bridge pu's. Often its to muddy an effect for neck pu , esp humbuckers
I use a DD3 for everything else , must have had it for at least 25 years

 

I'm in the Scottie Moore/Slapback group. I agree that sound seems to be easy to obtain through a wide range of pedals. I get it using a CC through my old, non reverb amps, but my SCx2 has a "reverb/delay" setting that gets the job done. Also, compressors really work nice with single coils, especially Teles. If I use one on a HB guitar I can't tell if it's on or off.

 

I think a lot of analog and digital sim trying to model vintage echo sounds, cause the repeats to degrade faster than they should and often distort more quickly. I dont remember tape delays having repeats 'dirty' up as quickly as the modern pedals meant to simulate that sound. Tape echos have a nice warm compressed like sound when you push them IMO. The sims often distort the repeats and bend pitch too much, IME.

 

I only use delay as a slapback.

Analog works perfectly for that.

 

A bucket brigade delay is nothing like the tape echo they used in the 50s. Tape is not lo fi, bucket brigade is. A digital delay is much better for a 50s slapback.

A BBD is better for the "psychedelic" thing because it's darker sound stays out of the way better with long times or lots of repeats, and I think rock guys like it for distorted lead thickening.

The cool thing about tape is it starts out hi fi, but subsequent repeats get lo fi as it progresses. The second repeat is a tape of a tape, then a tape of a tape of a tape, etc. So lots of repeats get out of the way a little, and the slapback is tight and clear.

 

To be fair though, analog delay and digital delay serve two different purposes. Whats your main gig?

 

It is the dynamics of an analog delay the makes it special along with the warmth. This thread has revived my interest into the CC Brite. I wonder how noisy it is compared the original CC?

Yup, it's all your fault Jakedog.

 

I don't understand what the dynamics of a delay pedal are

 

This is really a good perspective. There is no best or worst for delay, because we are artists and along with it comes what we individually enjoy. We are in the golden era of pedals and we should all be very content with the incredible number of choices out there. Who would have thought that there would be so many good options for something rather unnatural as delay.

 

@waparker4 - to me it is how the delay reacts to pick attack, primarily. Pick lightly/subtly and get an unobtrusive ambient wash or pad, rather than distinct repeats. Dig in/mute and get more prominent, staccato repeats. It is the ability to achieve that and in particular lots of variation between, that I really like in a delay.

The DD2/3 do that, better than others for me. And I like the sound of the wash/staccato repeats better than any others I've tried.

 

In the battle for delay spot DD-3 kicked carbon copy's butt. Although I do wish to try CC again and at least once in my life a real tape, like echoplex, but DD-3 just doing it for me now

 

That basically sums it up.

And I really want to stress again that I love really all kinds of delay sounds. It's been such a big influence on my appreciation and playing of music. There is, for me, very few times when I think it's not a good idea.

@Obsessed
I ain't no artist =)

 

no, its not.


glad I could help.

 

I really had much higher hopes for the Carbon Copy Bright. To me, when I see people on this topic complaining about analog delays muddy up everything, I can definitely see that applying to the CCB. Where the original had a pretty full and round sound in its repeats, it's almost like the Bright version took your initial signal and, starting with the first repeat, just completely pulled all the sliders on the left side of the EQ down. It was a really harsh, metallic thing that I just couldn't reconcile with, whether through using different guitars, pickups or stacking it with other pedals. Not saying somebody else can't make it sound good or even great, but it definitely wasn't for me.

 

Hmmm, that was what I was afraid of. Good to know. Phew, GAS lowered a bit.

BTW, if you play guitar you are an artist, whether you know it or not.

 

The way huge pussies sound really nice and clear. They're analog.

 

Love my aqua puss!!!