ilovefuzz.com

Daaaaang son!

It's OK. I have gone back and forth for a while about whether I need one or not. I still don't really need one to play the stuff I have written but I want to use it to expand my writing potential.

My biggest challenge is keeping things tight, aggressive, and clear while using delay. I don't like to get too spacey.

neonblack wrote:Daaaaang son!

It's OK. I have gone back and forth for a while about whether I need one or not. I still don't really need one to play the stuff I have written but I want to use it to expand my writing potential.

My biggest challenge is keeping things tight, aggressive, and clear while using delay. I don't like to get too spacey.

I feel this so hard. I have such a hard time using it in heavier/more complicated fast parts. We get really spacey, but most of the time it's fast and spastic. I've found keeping the time short and repeats high+using it to accent the tail end of riffs as opposed to leaving it on works really well.

My fave is using short time+high repeats on quieter plucky palm muted parts. Bonus points with a multi head delay. But yeah I rarely use it when things get spazzy. I do like the idea of using it at the tail end of a riff.

BR, you should look into that Rainger Echo X for stuff like that. You can use it as a momentary delay with trails so you could quickly capture a single note with a tap on that little Igor thingy. And it's itty bitty!

I'm gonna have to get one too.

neonblack wrote:My fave is using short time+high repeats on quieter plucky palm muted parts. Bonus points with a multi head delay. But yeah I rarely use it when things get spazzy. I do like the idea of using it at the tail end of a riff.

BR, you should look into that Rainger Echo X for stuff like that. You can use it as a momentary delay with trails so you could quickly capture a single note with a tap on that little Igor thingy. And it's itty bitty!

I'm gonna have to get one too.

Dude I was literally just about to post a thread about momentary delay... Thanks dude!!

Someone had one for sale recently. Might still be up.

Edit: it was insubordination but it looks like he either sold it or took it down.

neonblack wrote:My biggest challenge is keeping things tight, aggressive, and clear while using delay. I don't like to get too spacey.

yeah, don't get a timeline it's great but it falls back in the mix too easily for that.

i like the bigger complex delay pedals personally, even if i don't use most modes etc it's one of those effects where i like having presets and different timbres for different settings. i can get away with not needing a reverb pedal generally, too.

I basically want a multi head delay for rhythmic percussive stuff, a warbly tape style delay for spacier stuff, and a nice slapback with high feedback for weirdo surf sounds. But then I want a looper and some glitchy sounds too. And I'm trying to stick to a PT Jr so I need maximum features in minimal space.

sounds like the DD-500 tbh.
i've loved the clips i've heard of the nemesis though. but damn that source audio 'aesthetic'.

Yeah DD-500 is definitely top of my list. I never thought I'd see the day that a Boss pedal dominated my GAS

Dude, you are missing out.

I just sold my Timefactor and picked up an RV-3.
I found that I was:
-Never using delays over 1 second
-Using 5 presets on only 3 delay modes, most of them to accomodate delay times just out of reach of my Meet Maude.
-Getting caught up in parameter adjusting. When it gives you a range of 0-100 for everything you spend a lot of time making minute adjustments when really, a value of 5 is like 1/20th of the range and who the fuck can even notice that live?
-Struggling to power it
-Never used the (admitedly awesome) looper live and live use is a priority for all things on my board.
-It took up a heap of space on my PT-1 considering I only use a few sounds from it.

SO now I rock my Meet Maude, RV-3 and my Ct5 for reverse/stuttery stuff and small loops live.
Frees up a HEAP of room (TF+Aux compared to a boss pedal. So much room) for other things and I'm as stoked with my delay sound as I've ever been.

None of my "quirky" delays are boutique. They're just old.

For that, I have a couple Digitech RDS LFO delays (used them since they were cheap in the 90s, nothing else does the ludicrous silly, and the LFO is post-delay buffer so sample+hold goodness is grand, as is delay time adjustments since it's also non-destructive), a Boss GT-001 that has a Tera Echo in it, and the Digi Time Bender's weirder modes (the harmonized delay stuff is stupid fun).

But baseline stuff my delay of choice has always been a Space Echo of one sort or another. Using both the Boss RE-20 and a real RE-150 big box tape unit. My multi delays usually emulate Space Echo stuff or Chorus Echo presets (I have a very, very convincing Chorus Echo preset that I've used on a Quadraverb+ for ages, as it's the only multi I've ever seen that lets me adjust everything with each tap - level, pan, feedback, etc).

I went from TimeLine>DD-7>DMM>Meet Maude>TimeLine. Not including all the bullshit I used before that, miss my ILFDD though

I realized that even if I only used 2 setting during a live show, I would still be happy with the TimeLine because of how easy it is to dial in crazy interesting sounds, but I do a lot of spacey sounds with it, so YMMV. I thought the DD500 looked cool and easy to get ahold of before I came into a deal for the TimeLine, but I'm glad I'm back on team Strymon, as I'm sure I would go insane with all the menu diving.

Yeah I've wanted a timeline for so long, but I'm not sure if I'd get any really useful sounds out of it, or if I'd just come up with some garble that only myself and crackheads were into.
That's the real danger.

If the crackheads are into it (or run), you're on to something worth having!

I've never seen the need for a fancy digital delay thing. Partially I like the modular approach of combining different delays (and changing out components if they don't work). Partially because I like the more immediate interface of a couple of pedals rather than menus and presets. Also live it's easier to troubleshoot a couple of knobs than menus. But the main reason is I get every sound I want out of the delays I have. I haven't heard anything on a timeline demo (for example) that makes me want it over my existing gear.

In my experience, a lot of the interesting quirks in a quirky delay get lost in an ensemble situation. Also, I already have a lot of quirk upstream (Kassette, GB24 etc) which overshadow the subtle things that delays can do (subtle modulation on the repeats, for example). YMMV -- I'm basically making a racket.