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PeteeBee wrote:

MrNovember wrote:

$harkToootth wrote:I feel inclined to add another superlative. "Favorite use of a delay pedal that you don't own?" That goes to the guitarist of MINUS THE BEAR. A friend took me to a show (I don't think I've ever listened to that band on my own accord) and that guy rips on the DL4's. It was a great show!

I remember watching his rig rundown years ago and being SUPER impressed with his DL4 usage....

...I still haven't listened to their music....

If you do, Menos el Oso and Planet of Ice are definitely the two best albums. They got real poppy in a bad way after those and before they were a little more standard seattle alt indie.

This. They're still not one of my favourites but I've seen them live twice, and they're really tight and the dl4 stuff is brilliant to watch.

Those 2 albums are good but they make beer commercials like this and highly refined pirates are classics. The guitar playing on highly refined pirates is gnarly!

Honorable mention in the superlative. I was/am a huge fan of this board. User Zijnzijn Zijnzijn.

Zijnzijn Zijnzijn! wrote:A shitty picture while I added power supplies to replace my six 1Spots



A scary picture of the case I got to replace my old blue one b/c I'm out of room in it

Ok, I got one like a month ago after wanting one literately forever and the RV-3 may be my favourite simple-ass delay. I was right hyping it cause you just set it somewhere and that's it; isis delay sound..

RV-3 is super cool. Mine's always on my board and that would have been my answer but more often than not I just use the reverb settings so not really applicable. Those reverb + delay settings are the business though when you wanna get spacey. I think it deserves a waza craft with some bonus settings. Like what if it had the DD-5 reverse delay + reverb? Mmmmm

DD6, but that and an AD9 are the only delay pedals I've ever played, so my horizon is limited. But I love the crap out of my DD6.

$harkToootth wrote:Honorable mention in the superlative. I was/am a huge fan of this board. User Zijnzijn Zijnzijn.

Zijnzijn Zijnzijn! wrote:A shitty picture while I added power supplies to replace my six 1Spots



A scary picture of the case I got to replace my old blue one b/c I'm out of room in it

[img]/img]

That board is epic. Or maybe I'm just seeing the timebender

Boonar and Triton (thanks culturejam!!)

i am really interested in buying either a 'meet maude' or a 'Taken' in the future. Anyone here played both, and if so what are the differences /pros and cons? Currently i am kind of leaning towards the Meet Maude, but i have really been interested in the Taken too. Mainly i just want a solid simple delay that is textured, has a unique character, and can go from dark to bright easily. I already have a giga delay for digital sounding delay or stuff that needs to be matched in time perfectly for recording, so for the analog sound i kind of want something that i don't already have covered for recordings

I have played both (both briefly as I don't own either). The Maude, from what I found, never sounds very bright. It's always quite dark and it sounds great but if you want something that can be really bright it might not be right for you. Really good delay though.

Taken is cool and has more of a bright-dark range from what I remember. The "multi-head" stuff can be fun too.

it doesn't have to get super bright, but the main thing i have learned i don't like about some analog delays is the lack of a tone knob. i had a memory boy, and that was extremely dark and was hard to use in a lot of recordings situations. The only thing i am hesitant about with the Taken is with the modulation and also with the double heads. The modulation on the Meet Maude seems really pleasant, natural, and not overwhelming from the demos i have seen, but the Taken seems to get kind of out of hand or almost artificial on some videos i have seen. The double heads i think would be interesting for some situations, but in others i am almost worried that i wouldn't be able to get it toned down or to match a metronome right in some applications (which doesn't seem to be a problem with the Meet Maude). Did you ever experience or think about these potential issues when you played with them coldbrightsunlight? I really appreciate your insight

ibarakishi wrote:it doesn't have to get super bright, but the main thing i have learned i don't like about some analog delays is the lack of a tone knob. i had a memory boy, and that was extremely dark and was hard to use in a lot of recordings situations. The only thing i am hesitant about with the Taken is with the modulation and also with the double heads. The modulation on the Meet Maude seems really pleasant, natural, and not overwhelming from the demos i have seen, but the Taken seems to get kind of out of hand or almost artificial on some videos i have seen. The double heads i think would be interesting for some situations, but in others i am almost worried that i wouldn't be able to get it toned down or to match a metronome right in some applications (which doesn't seem to be a problem with the Meet Maude). Did you ever experience or think about these potential issues when you played with them coldbrightsunlight? I really appreciate your insight

You can dial the second delay time out completely on the Taken if I remember right. Meet Maude, for me, is much better generally (I like simple delays that just sound good). It sounds really nice, the modulation is great, no complaints. If you listen to demos and think it's not too dark I'd go for that! Taken is also cool but yeah it's capable of being a bit weirder and it doesn't have as nice a basic tone as the maude.

coldbrightsunlight wrote: You can dial the second delay time out completely on the Taken if I remember right. Meet Maude, for me, is much better generally (I like simple delays that just sound good). It sounds really nice, the modulation is great, no complaints. If you listen to demos and think it's not too dark I'd go for that! Taken is also cool but yeah it's capable of being a bit weirder and it doesn't have as nice a basic tone as the maude.

i think we have similar interests/feelings haha, thanks for the confirmation on the MM coldbrightsunlight

Reviving this thread, for another mystery question I have... The original ehx 16 second delay from the 80s, as you probably all know, had that continuous recording function (even when the pedal is disengaged, it's recording what you play). What a fabulous idea.
To my knowledge, no delay is doing that today. Or maybe there's one, but then the word hasn't spread enough. I know Manecco looper builds clones of the Ehx delay, but only on request and it's quite expensive. Even Ehx never used that feature again....There's ways to approximate that with other pedals, but you have to decide beforehand that you'll be using that trick. Which is really different from having the possibility to suddenly turn on the delay at an unexpected moment....
So how come continuous recording hasn't become a key feature of loopers/delays?