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1,2,3, Pull Out! wrote:I love how you can filter loops! I loop a hook and start it off all lo-fi and then slowly take the filter off, it's SWEET

That is sweet!

iblamesummers wrote:clearly. w/o question.

Clearly!

iblamesummers wrote:

SirBlend12 wrote: Even if you never find a plausible application for it, its still worth it to play with.

IMO the "plausible application" aspect is a basic misconception. it is very easy to become initially overwhelmed--or 'lost in the Hazarai'--that one loses sight of the fact that teh EHX SMMwH does a lot of basic delay functions really well. i think there is a common stereotype of what a delay should do & what it should "sound" like & EHX haz clearly shattered that notion: the Digitech Digidelay & the EHX SMMwH are two-cult status delays that have clearly made their mark. clearly. w/o question.

Oh, no, I don't mean what it seems like I mean (I think I worded it badly... well, this too, as well). Its more so that the multi taps are harder to figure out. Not only from the aspect of tweaking, but how to get them to fit into stuff in effective ways, whether tame or crazy. I think that part that is hardest is the repeats setting. One of the major things I love multi tap for is like a stuttering, smeared Freeze/Gliss type thing. I set the delay really low, and crank the repeats and set the filter to a pretty dark sounds, and then strum and hold a chord with it. Fading between one chord to another sounds awesome. I also dig on using it as an way to get a tweaky sounding rhythm, where you stuck pick one note and then let the repeats play over a lot. I dunno, it just sounds different then if you actually picked the note over and over. And then, of course, high repeats with multiple notes at different points in the beat to make pulsing chords... I didn't explain that well, either.

Anyway, its not that the delay being "unconventional" is a problem. Making the unconventionality work for you, though, can be tough. It iz be a shit-ton o' tweakin'.