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Brandsmannen wrote:Something I find when trying out new kinds of effects is that it's a lot easier to find out what you want when you have a starting point. If you have a possibility to borrow delays I'd say go for it

I agree, my DL10 is my frame of reference for all things delay

Goroth did an amazing job!

Personally I started out playing postrock-ish stuff and delay was mandatory. I started with a Digidelay and it was lovely and cheap. Personally I love tap tempo, because I usually end up playing in time to the delay which means I will end up always playing in the same time if I don't mix it up by tapping... Also changing tempo mid-song can yield cool results, especially if you are using an analog delay that will pitch-bend while adjusting the time.

*nudge* Take my In Limbo!

So many things!

I think the appeal of the Maude was that it does the modulation, but also a normal delay. The effects loop is a cool bonus too. I just have this feeling I'll end up using modulation for the weirder stuff more than the normal, but I want the option of both.

I've watched this, like...30 times now:
[youtube]http://www.youtube.com/watch?v=cJtNPqaNLh4[/youtube]

It just sounds magic. Shimmery. Warbley. Kinda Creepy. Mysterious. Hahaha

And Hbomb, I'll totally take you up on that offer!

Ultimately, I have no cash to put into this quest, as the wife and I are in the process of buying a house...you all know how that goes. So, it will depend on either

A. How much I can get for the brute, or
B. Someone trading me a cool thing(s)

Phanta has a Clarinot for trade, I believe.

Oh, he's been PM'd
Now if I can convince him to part with the DD-6 as well...

Goroth said recursive.

And a whole lotta other non-two-bit words that = wisdom.

Haven't seen it mentioned, I don't think, but if you don't need tap tempo, Ibanez DE7 is dirt cheap used, can give you either pristine repeats or loverly squished "tape-echoey" repeats and, yeah, seems like it would be a kick-ass, fairly reliable low-cost buy-in to delay world that could either hang on your board long time or help guide you to the tantric heights of delaydom. And, just to be clear, I mean tantric in the sense of endless cosmic boner. Y'know, if that Clari doesn't put you in boner hospital.

Dude, I always forget the DE7. That is an awesome delay for sure. The switch is going in mine, which is annoying.

When you guys delay, do you ALLLWays delay? What I mean by this is I got my hands on a U2 greatest hits, begrudgingly, because Bono annoys me, but the Edge is known for effects, particularly delay. I came to two conclusions:
1. He uses delay very creatively with seemingly no modulation, and it sounds damn good, which speaks to the versatility of a "normal" delay.
2. He almost over uses it...is that blasphemous? Like, every single song is dripping with it, which is cool to study, but after listening all the way through, it almost feels like a crutch, like if he didn't have it he'd be dead in the water. I suppose the same could be said of any effect really, but I guess instead of being added flavor, how I would probably use it, it's his main sound. Different strokes I guess. Mind, I'm not calling him bad, because I found myself asking, "how is he doing that?", more of just an observation.

CyaNitrate wrote:Mind, I'm not calling him bad,

But you should.

I don't care for U2 but they seem like nice enough dudes.

Hahaha...like I said, it was just an obvious and readily available example of delay in action to study.

[youtube]http://www.youtube.com/watch?v=hT44cUPZQ2o[/youtube]

CyaNitrate wrote:When you guys delay, do you ALLLWays delay?

I don't always anything in terms of gear.

It's what the moment requires, nothing more, nothing less.

Sometimes that's six delays, fifteen fuzzes, and variable hell into three amps.

Sometimes it's a guitar into a bass amp set dead clean.

And of course the U2 dude uses it constantly, it's their signature "what does this band sound like" thing.

It's like asking why the Police have chorus and flange on everything.