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So after years of wanting I finally obtained an Echorec (Catalinbread), and while I got in a few minutes' testing this morning before work, I most likely won't have the chance to really get to know it until the weekend. So in the meantime I thought I'd take advantage of some downtime at work to probe the collective wisdom and geekery of ILF for any tips, tricks, hints, suggestions about how to maximize the beauty of this device.

My own first priority will be to sort out where to stick it in the delay chain (TWSS). Right now that section of the board goes AD-10>DD-3>Canyon>Obscura>DD-5>TE-2. Obviously I'll figure this out for myself, but what would you do?

Also, is it true that Boss buffers mess with the Echorec?

I believe there are two trim pots inside. One adjusts the modulation and the other adjusts the volume. Turn the volume up all the way to get a fuzz. I think I set mine ever so slightly higher than unity. No experience with Boss buffers since I typically run mine pre dirt, but I’m pretty sure I’ve run one in an LS-2 without any problems. Speaking of pre dirt, try it out there if you want strong, rhythmic repeats. You need to back off the gain a little bit and your mix will be less than 50%, but you also won’t be turning the feedback up until it oscillates just to keep the repeats from fading out in your effects loop.

I put the CBE at the back of the chain 99% of the time.

instrument > reverb > modulation > delay > CBE

CBE after the Grazer/Polymoon/Boonar/Rubberneck/Brigadier/DIG etc. The modulation on that model is so ethereal, that it just sounds right at the back. I've never adjusted either of mine, so I'm on factory trimpot settings. When I want less of it, I just push the mix into the 11:00 to 1:00 range.

Mostly I'd say I use mine something like this:

Swell: just pass noon
Tone: 1:30
DT: 10:00
Mix: 3:00 - 4:00
Modes: 8, 10, 11

Generally I push delay times near max on most delays, but to hear the multi-head cascade on synths, it's best to shorten the delay times to avoid a smeared washout. For guitar I'd probably drift into the 1:30-4:00 range on the DT. Good luck.

duffmcshark wrote:I believe there are two trim pots inside. One adjusts the modulation and the other adjusts the volume. Turn the volume up all the way to get a fuzz. I think I set mine ever so slightly higher than unity. No experience with Boss buffers since I typically run mine pre dirt, but I’m pretty sure I’ve run one in an LS-2 without any problems. Speaking of pre dirt, try it out there if you want strong, rhythmic repeats. You need to back off the gain a little bit and your mix will be less than 50%, but you also won’t be turning the feedback up until it oscillates just to keep the repeats from fading out in your effects loop.

Yeah, the trimpots are on my list of things to explore. I've got a gig next week and I think I'm just going to have to hold off on adding the pedal to the board until afterward; there's just too much to figure out in terms of integrating it without some serious inquiry. Thanks!

echorec wrote:I put the CBE at the back of the chain 99% of the time.

instrument > reverb > modulation > delay > CBE

CBE after the Grazer/Polymoon/Boonar/Rubberneck/Brigadier/DIG etc. The modulation on that model is so ethereal, that it just sounds right at the back. I've never adjusted either of mine, so I'm on factory trimpot settings. When I want less of it, I just push the mix into the 11:00 to 1:00 range.

Mostly I'd say I use mine something like this:

Swell: just pass noon
Tone: 1:30
DT: 10:00
Mix: 3:00 - 4:00
Modes: 8, 10, 11

Generally I push delay times near max on most delays, but to hear the multi-head cascade on synths, it's best to shorten the delay times to avoid a smeared washout. For guitar I'd probably drift into the 1:30-4:00 range on the DT. Good luck.

Cool, thanks for the tips! As I said above post, I think I'm gonna have to wait until next weekend or something to really get down with it, as I've gotta practice for a gig on the 4th and the logistics of incorporating the Echorec is just too much right now. But it sounds so sweet that I'm tempted to make my entire set consist of just futzing with the same couple riffs over and over while I work out the settings. Hey, I'd listen to it...