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Disarm D'arcy wrote:Where are you in France? because I have an SEA and Pladask Gjengangar you can try if you're nearby

Yep. I live in Paris. I often travel to Marseille for friends and family. And various places in between when touring... Thanks a lot man, that would be neat.

Pladask Gjenganger is PT2399, but you can filter out a lot of the highs and the texture by flicking a toggle (maybe v2 has it on a knob. Dunno).

vidret wrote:it's really, really hard to beat the el cap tho.

and before one of those rack guys come in here being all like "ITS NOT REEL ECHOPLAZA", it's a great delay pedal with HUGE tonal range.

most demos don't show how gritty it gets, and it gets REALLY clean as well. I know you said strymon was too clean, but have a look around a few demos and see if they tweak the right parameters, maybe you'll get a feel for it. the website has a bunch of preview settings too.

Yeah I liked my el cap heaps until I tried a Meet Maude and did the old switcheroo. The el cap can get surprisingly gritty, it's just a lot of demos fail to show this cos everyone wants pretty ambient shit apparently.

But yeah OP I vote maude, it's fucking gorgeous, I use it as my only delay. I've paired it with 2 DD7s, a DSD-2, a Timefactor and a DL4 and only Maude remains, it's that sexy.

Maude sounds great with distortion. With the volume and mix knobs it is easy to get it to sit right in the mix.

On the fairfield website, it says the meet maude has cv which can control any parameter like an expression pedal. Does this mean I can plug in an expression pedal and use it, or that if my rig has cv signals coming from some device they can control the meet maude?

Saw people were chatting about the AD4096 - just chiming in with a note that we just sent out 5 of our 6 new prototypes to lucky customers who snatched them up, and we held one back to do some video demos of it for people to get an idea of what the new one will be like. You will be able to, with CV, give your delays "tape warble," and will be able to modulate the delay line in such a way that you turn the pedal into a super deep sounding chorus.

We have over 200 people on the waiting list for the new delay, not including outstanding dealer orders, so if you're interested in getting on the boat, you can sign up on the waitlist at no charge below:

http://www.endangeredaudioresearch.com/ad4096-wait-list

Will follow up on the forum here with some demos of the new one soon. We're shooting for a sub-$400 pricetag.

Also, since y'all are talking chipsets, we use CoolAudio's, and the AD4096 is based around the DM-3, though the infinity mode and echo line are unique circuitry.

vidret wrote:

EndangeredAudioMark wrote:we just sent out 5 of our 6 new prototypes to lucky customers who snatched them up,

so that's what jwar's bringin to ILF-USA

Is jwar someone who bought one? And what's ILF-USA?

Christophe wrote:... (it's hard to describe a sound, but, you know, when delay sounds more like music lying around what you're playing, rather than just repeats? and they all seem capable of great experimental/crazy sounds)...

DMM. You want a DMM

[youtube]http://www.youtube.com/watch?v=sZQSxufQaKs[/youtube]

I'll be Meeting Maude in a few days. ;-)

rustywire wrote:

Christophe wrote:... (it's hard to describe a sound, but, you know, when delay sounds more like music lying around what you're playing, rather than just repeats? and they all seem capable of great experimental/crazy sounds)...

DMM. You want a DMM

Shit. ILF stopped emailing me about new posts on this thread. So I've missed a few posts... Well I've never owned a dm2 or a DMM, the most revered delays ever. (by the way a friend of mine showed me the Berhinger version, "vintage time machine", and it sounds fat!). I'm sure I would dig these... I kind of avoid the question of buying a DMM this way: it sounds great but it has left its print already. Why reproduce this sound forever? We need to make today's music, right?
I mean, that's another question about delay: dm2s and DMMs, are they just good, period, (regardless of music genres etc...), or are we just so hooked on nostalgia that we have a hard time moving on to something else? I'm pretty sure that in a 30-year time, people will consider the Boss space echo (even if it's a remake) like the best thing that ever happened to delay in a stomp box.
That being said, the search is endless, I might fall back on a DMM in the future...

Christophe wrote:

rustywire wrote:

Christophe wrote:... (it's hard to describe a sound, but, you know, when delay sounds more like music lying around what you're playing, rather than just repeats? and they all seem capable of great experimental/crazy sounds)...

DMM. You want a DMM

Shit. ILF stopped emailing me about new posts on this thread. So I've missed a few posts... Well I've never owned a dm2 or a DMM, the most revered delays ever. (by the way a friend of mine showed me the Berhinger version, "vintage time machine", and it sounds fat!). I'm sure I would dig these... I kind of avoid the question of buying a DMM this way: it sounds great but it has left its print already. Why reproduce this sound forever? We need to make today's music, right?
I mean, that's another question about delay: dm2s and DMMs, are they just good, period, (regardless of music genres etc...), or are we just so hooked on nostalgia that we have a hard time moving on to something else? I'm pretty sure that in a 30-year time, people will consider the Boss space echo (even if it's a remake) like the best thing that ever happened to delay in a stomp box.
That being said, the search is endless, I might fall back on a DMM in the future...

I'll chime in cause I'm familiar with the dmm and DM-3. The latter is just awesome in it's simplicity. Totally a personal thing, but the color and grit of the repeats are the shit imo. Dark and murky, but not TOO washy or fucked up, unlike a lot of other bbd delays. The beauty of the dmm lies in the warble, and the warmth you get even when the repeats are barely audible.

There's way to many awesome newer delays based on those too though. No point in dwelling over vintage stuff (or reissues for that matter) when there's a of improved clones...Right?

Christophe wrote:

rustywire wrote:

Christophe wrote:... (it's hard to describe a sound, but, you know, when delay sounds more like music lying around what you're playing, rather than just repeats? and they all seem capable of great experimental/crazy sounds)...

DMM. You want a DMM

Shit. ILF stopped emailing me about new posts on this thread. So I've missed a few posts... Well I've never owned a dm2 or a DMM, the most revered delays ever. (by the way a friend of mine showed me the Berhinger version, "vintage time machine", and it sounds fat!). I'm sure I would dig these... I kind of avoid the question of buying a DMM this way: it sounds great but it has left its print already. Why reproduce this sound forever? We need to make today's music, right?
I mean, that's another question about delay: dm2s and DMMs, are they just good, period, (regardless of music genres etc...), or are we just so hooked on nostalgia that we have a hard time moving on to something else? I'm pretty sure that in a 30-year time, people will consider the Boss space echo (even if it's a remake) like the best thing that ever happened to delay in a stomp box.
That being said, the search is endless, I might fall back on a DMM in the future...

Well, the electric guitar and bass have been around since the 1930s and 40s. Why reproduce that sound forever?
Tube amps are even older. How many tubescreamer clones and derivatives are there on the market? Tonebenders?
You get my point, no need to start talking acoustic drums

Yes, they're just good.
2 players taking turns on the exact same rig can easily sound more different than alike. Or vice versa.
User is the single most dynamic variable in the equation. For a long time I used to eschew ubiquitous art supplies to see what I could do with lesser known and/or unorthodox items. Realized I was only rowing against the current and doing things the hard way, even putting cart before horse. Now I embrace the challenge of taking familiar things in new directions...in addition to using whatever is ready available and works for me.

"taking familiar things in new directions" I agree with that. You can use a wha pedal without sounding like hendrix. I was more thinking in terms of DMM is The Edge's signature, Fuzz Factory is Muse, Whammy is Morello. Like you said, user is the most dynamic variable. Guitar remains guitar. But a pedal is something else. It may age well or not, or you can be fed up with a sound you've heard too much.
Sometimes you also need new gear to make things fresh. I love my Diamond memory lane, there's a lot of music to be made with that, without feeling the "trademark" of someone else when you play... (it's all in your mind, but still, it affects your playing...)
I'm still not totally convinced by clones by the way. Each time I've paired an original with its clone, it sounded different, and different enough to inspire different things...
(Rest assured, I'm not arguing here, this is very interesting)
Speaking of DMM, I'm currently working in a studio and they have an old DMM.. (funny uh?) I'm gonna give it a try during the week-end and... who knows? ;-)