Best Ever Analogue Delay? [Boss DM-101, Carbon Copy, Suhr Discovery plus DD-200 & TimeLine]

[Music] foreign [Music] [Music] foreign [Music] [Applause] [Music] foreign [Music] [Music] welcome to that photo show down here Mick here hello as you can probably guess today we're all about the boss dm-101 amid a slightly wider conversation before that thank you for watching please subscribe on YouTube please go to that pedal show store where you can buy merch and stuff which is the primary way we can look as good as this you can we've even got some new coffee cups which are actually quite um quite stylish that's really nice yeah with like the dipped uh thing there which is this is literally the first time I'm seeing it yeah yeah well it does say that pedal shoe on that side yeah yeah yeah so you can choose if you're left-handed you could uh show the world devotion I like that yeah and um if you're right-handed you can just give it to yourself yeah yeah that's yeah and it does function as an adequate beverage deliverer pedalshowstore.com please go there buy Merchants how we found the show uh to wit to who um why is this exciting okay received a message a few weeks ago from uh our dear mate Matt at boss saying this is coming out by the way it's all analog it has eight Bucket Brigade device chips in it and I haven't been this it could mean I'm not a very excitable person as you well know normally very cool Karma collected and uh and I saw this and I thought well this is going to be yeah I got I got excited you did just for a change I got it really excited uh some context for that we'll get we'll get these sorts of emails all the time and and stuff comes in and Dad's like meh this came in he was he was properly properly excited so that's why it's on there the questions we're going to ask today just to sort of summarize before we get going uh why analog delay indeed we'll talk about that you know what what is it what's so special about analogs they would briefly do that because we've talked about that a lot in the past um why is this so interesting Dan hinted at it with the eight uh BBD chips in there but there's some other stuff too we're going to show you just some very very simple examples of things to play with DeLay So we did this in a show a couple weeks ago and a lot of people really liked it can't remember what we were talking about but anyway we did it we bought the funk oh the funk yeah yeah so we'll do that and if you've never played with delay before if you've tried delaying it doesn't really work for you then hopefully this will get you going uh with just some simple stuff to try um what does this new thing the 101 offer over a nor a normal analog delay and for that we have the mxr carbon copy what you will have seen in all the demos so far is probably only the dm101 on the board uh We've introduced some other stuff to ask some more interesting questions what about something more exotic for example the king of analog delays currently is the sir Discovery delay yeah um beautiful thing would you choose it over something like the dd200 which is an affordable do it all delay and for what it's worth done if I was going to go and buy delay pedal tomorrow that's what I'd buy sure if I could only have one yep and finally finally finally a question that we have never asked about an analog delay before could it actually function as your do-it-all delay yeah and for that you've been using I've been yeah I would use the timeline yeah uh because of the the specific sound of analog delay which brings us to why analog delay what's so cool about analog today so when analog delay first came out it was it was designed to replicate the sound of tape machines up to that point if you wanted to have an echo on your sound you either had a tape machine or an echo rack drum style delay and when the Bucket Brigade chip first came out it gave designers the opportunity to create echo in a much more compact friendly style you know things with tape delays and Echo racks there if you can see those two devices that are sort of behind Daniel there you might depending on which way the camera is pointing you might only be able to see one but you know imagine carrying that around the boss re201 space Echo completely imagine yeah imagine that was that was the reality before and then all of a sudden something actually this size happens yeah yeah the original dm1 happened so it gave players the opportunity to have a delay in Echo without having to rely on tape yeah and that was a massive step forward and of course with that came flanges and and everything else that uses that delay chip to create these sounds chorus pedals blah blah so it's a sound that you know the delay revolutionized uh the analog delay chip revolutionized effects as we know it and it was a uh sound that you just worked with so many things then what happened when the digital play came up came along suddenly analog delays weren't worth anything because the digital was the new stuff yeah but it didn't take long for a lot of players to gravitate back towards the analog delay there's something in there there's something in that it was the sound that you could have a lot of a lot of that to lay in your mix and it wouldn't wouldn't encroach on what you're doing it wouldn't take over from you know the lines that you're playing and it just has a character has a thing well we'll demonstrate that briefly so I'm going to dial in the dd200 here to sound a bit like a tape delay and you'll just hear the repeats of that then we'll switch on something similar that came next and you'll hear the vast difference in the two sounds sure so um if you just play for me set down foreign [Music] [Music] [Music] now listen to this [Music] so even though the delay times are slightly different what you will have heard in the repeats now actually the dd2 200 there is overdoing the tape sound a little bit a nicely well maintained tape would sound bright and clean and lovely that's putting a bit of the age of the tape but what do we hear in the analog delay the repeats are warmer and they uh when we say warmer they they don't have the same sort of top end and Clarity that the digital delay has but also as the repeats sort of tail on each repeat gets progressively darker so it has this it you know that um repeating delay thing each Echo has its own character um as opposed to a purely pristine digital delay which just sounds is basically a mirror image of what goes into it yeah and as Dan was eluding there once the digital delays came out compared side to side the analog delay sounded very primitive and very sort of Lo-Fi and very unsophisticated when actually what you might have wanted if you consider what happened in music of the time through the 80s there uh cleanliness pristine we were getting into rat gear yeah it was all about that wasn't it it wasn't about Lo-Fi so the analog delay fell out of favor long story short here we are again all the people who really knew always loved that long delays yeah and a lot of other people are just starting to come back and go wow that does some some really cool things um before we get into the units then here's some really simple stuff if you have tried a delay pedal and it doesn't make any sense to you and you're like I don't get what that what's going on there here's some things to try and we'll use the well let's use the dd200 as the example because you can see the times on the top panel nice and this will give you an idea of of some things right um I'll kick off with with what we call a slapback delay right we start with short delays we'll do this as quickly as we can um because it's cover it's ground we have covered before but it will help give some context into what's going to come next so I'm going to dial in what we would call a slapback delay which is generally considered to be between I don't know like 80 and 100 milliseconds 150 something like that yeah so let's go down to 120 and I believe if you click and hold it goes much quicker um this should give us and we want quite a lot of level on this and we want not much feedback maybe only one repeat so when you hear the guitar you should hear the main note and one quick slap right without it [Music] that's actually pretty loud so I'm going to turn the level down a bit but this this would get us into our rock and roll right [Music] [Applause] [Music] [Applause] I'd actually take a bit more out turn it down a tiny bit more [Music] it's such a cool sound you can use slapback for loads more things but there's a good thing to get started with yeah great uh I am going to reduce the delay time even further and this is like a like a dabbling delay so I'm going to go down to 30 milliseconds so this is something that's really nice just to thicken up lead sounds so a little bit of uh love on there [Music] [Music] [Music] [Music] thank you so it just gives a bit more weight and it just helps things pop out a little bit more in the mix I really really like using delays like that and one thing that you'll start to hear there is uh the beginning of something that approaches a chorusing effect that's what those short delay times then become when you do something to them okay for the next one I'm going to go to a delay speed that I use all the time as an all-round delay that will fit under pretty much anything as long as it's not too prominent I use 335 milliseconds because it happens to be one of my favorite guitars no other reason right now as a general rule of thumb when you've got a brightish sounding delay as the delays get longer you want to turn the effect level down a bit right there are some specific examples where you wouldn't want to do that but as a general rule of thumb it just helps it not get in the way so much sure so um I was gonna have a bit more of that done if you don't mind yeah more overdrive and just play some lead type stuff and we'll turn the effect level down in fact tell you what I'll leave it up leave the effect level up and here's what happens if you have a delay of this length uh on a sound like this so okay [Laughter] [Music] [Applause] [Music] ha ha ha foreign [Music] funny there's a real uh it's so easy for that to turn into mosh but you get that effect level right and it just thickens everything out it's beautiful as we'll discover when we start talking when we eventually start talking about analog delays um the way that that delay goes off and gets darker and kind of goes away helps it not be so prominent in the sound one of the reasons analog delays her love so much talk about that in a sec anything else Dan for them well the simple one like timed delays yeah so if you've got things like you know you hear all the time dottedates and that sort of stuff let's just start with simple quarter note with a delay that's in time with what you're playing so the dd200 has a tap Tempo on it which enables you to tap the tap of the tune that you're playing and having a delay that's in time with what you're playing it just adds a really nice um yeah again thickening quality but it's a because it's in time it's you know it's it's a different effect what's happening if you like yeah great if you can turn me on baby you look so nice it doesn't take much [Music] thank you if you just play exactly the same thing I'll make the delay time not match what he's doing it will be almost impossible to play okay [Music] thank you which is to say that if if you are struggling with delay and you turn it on and it just turns into this terrible mess and you don't really get what's going on simply tap in time to the music and that will make everything so much easier yeah yeah there's loads of other things you can do please watch some of our other uh videos on delay but hopefully that will is some context for some of the things that we're about to discuss eventually welcome to that pedal show today's Amsterdam oh yeah today's ants there's a double Maiden D power section Nessa Boogie 2x12 stereo conglomeration yeah we will invoke Noel's knobs I wonder what the settings are but there's not much to see today Noel um this is as Dan says it's a stereo valve Poweramp and the reason that we're stereo is because we want to get a similar thing on both sides as possible normally we just use two amps wet dry or dual mono or whatever but we wanted them to be as similar as possible so 50 50 stereo power amp these are wgs-12l speakers so they're kind of like EVS in one by 12 cabs and they are being driven by two Maiden D preamps which is like a dumbbell clean Channel if that all sounds too complex just imagine you've got two apps that are exactly the same yeah that's what we've got here yeah exactly but these These are the only we don't actually have two amps that are the same so this is this is the closest we have to it uh right um so the reason for going stereo yeah and I've never seen this in an analog delay before but it's actually a proper stereo analog delay actually is it stereo in and out no it's just stereo out okay fine unless there's a TRS option but I I don't believe so I don't know okay um so the first uh we'll do this briefly if you want to know an actual Deep dive of the features go and watch Brett kingman's video go and watch the Anderson's demo um I even think Josh JHS has done one okay if you want to see a deep dive on the features go and watch that boss's videos will be brilliant for sure um whoever's ended up doing those we're more interested in the other questions so but however briefly well we got how many you've got six mono uh configurations and then you've got six stereo shall we say engines yeah um so in mono does it just send the same thing yes both sides yeah but it uses the so it's got eight chips in it right and you can do different things with chips in series and parallel and split and all that sort of stuff um but one of the things so it will do everything from the original dm2 analog delay sound then it starts to you know you expanding on that on top of the dm2 it also has built-in modulation yeah which of course the dm2 there used to be one over there but there isn't any more uh maybe it's over there oh it's there on the back wall look lovely um didn't have modulation right okay should we hear the dm2 yep uh cool uh I'm going to apologize in advance for looking at my phone but I've got the cheat sheet on my phone so I can see the what the controls actually do straight up characteristic characteristic warm analog sound vintage mode is boss dm2 okay replicator which we are on [Music] foreign [Music] thank you [Music] explain this to me it's why is it as soon as that sound starts happening I just want to play I don't I don't really understand it's a delay pedal it's a real you know and we've got hundreds of them and they're all great but there's something about analog delays I just find them so inspiring I I think what it is is that so what I did there um again a basic delay lesson if you like especially on an analog delay and particularly the dm2 will come onto the carbon copy in this in a second does exactly the same thing what we had there was the maximum delay time which should have been 300 and some milliseconds which was the maximum delay time of the dm2 at the time and then turn the intensity knob up and the intensity is how many repeats you get and then what happens is you get into something called oscillation so the repeats then go back through the delay chip blah blah blah and you get this bed that was happening and Dan loves with an well we're actually with analog any delay but especially in analog delay where that just starts happening and it creates this bed and the intensity with which you play can send it further in or bring it further out it's a great thing and you love that and read what we were talking about earlier with the sort of tonal character of the repeats because it goes off warm like that because you lose the top end and the sharp pick attack and it starts to filter it does then become like another worldly bed under what you're playing yeah rather than trying to fight with what you're playing yeah right cool yeah lovely so just we're not going to go through every mode but I just want to hear what modulation on a dm2 yeah [Music] thank you [Music] foreign [Music] depending on which mode you're in the um this knob here the variation knob will change different parameters in the dm2 mode it changes the shape of the modulation oh wow you know how we've always wondered what the C2 mod shape looks like fantastic I'll put a graphic of that on screen but um I'm not saying that it is it goes from a triangle to a sine wave to a kind of yeah well there you go here's a here's a this will go from a smooth um sine wave type modulation to something a little more uh uneven Dan if you just play a chord and Let It Go [Music] so that I mean it is a bit sickening that if you use it intensely like that but it's a cool sound all right at this point then let's see many of you out there will own the carbon copy mxr carbon copy I would say the most successful modern analog delay uh sport analog it bought the an analog delay to new generation of players yeah uh designed by George trips um from where huge mxr Dunlop and all of that character then because there's no tone control on here is there no so we can't adjust the tone control of the repeats there the mxr is notably dark sounding that's why there's a light green one which is the bright but this is the Standard carbon copy let's have a listen to the difference in in the two foreign [Music] copy is capable of much longer delays yeah but then the with 600 I think but the uh the dm101 will go vastly beyond that in a minute as you'll see sure so I'll try and dial in a similar sort of delay time go for it [Music] cool a bit more a bit more delays [Music] something really nice about the way the carbon copy filters yeah yeah the carbon coffee definitely has a thing yeah yeah so it's got a more pronounced filter in the straight mode we've got flipping about 50 more modes to go in the in the 101 yet sorry Matt from Monty's has just texting me because I saw him last night I should turn my phone onto silent with apologies very rude all right um it still has that there's a classic analog character that you that to this day I've not heard fate you know what I mean is there something that that's doing that you can't you there's there are things about that character that I just haven't heard replicated that it does organically oh well interesting question then well here then is the dd200s analog delay such an unfortunate beginning to the word what's that we can work it out go for it okay [Music] foreign [Music] [Music] [Music] [Music] thank you [Music] it's great interesting I flicked over to the modern mode in the dm101 there which gives you up to 840 milliseconds and a brighter repeat right quite a different character from the dd200 but fair show from the DDC 200 there plus you can get much longer yeah longer delays so far I wouldn't choose it over the dd200 right and I wouldn't choose it over the carbon copy okay so far sure because I'm happy with the analog delay sound of that yeah I'm really happy with the do-ital nature of that sure good enough um let's move on then so some of these other modes let's see what do we get after modern we get multi-head oh yeah four delay blocks in series this is a forehead delay yep uh selects heads uh so the then this knob here then selects the pattern of the heads yeah so we I guess we just have to guess are we yeah awesome oh it shows you here yeah of course it does [Music] [Music] foreign [Music] thank you so that's one three and four right um it's really interesting because I on an echo wreck for example which is I guess what we're talking about with a forehead or it could be a forehead tape either whether it's a void tape or a forehead drum the repeats would be brighter yeah so that's a new sound for me right where it's darker four analog delays coming after yeah let's try and add some modulation play some play some chords that are some arpeggiation [Music] thank you [Music] thank you [Music] foreign [Music] foreign [Music] foreign [Music] [Applause] foreign [Music] that's me for days so we went from the multi-head then to the what they call non-linear which is a reverse type apparently okay um let's get on to some of these or are they the stereo ones I'm confused no so stereo the first six yeah uh mono yeah and then from reflect we get into stereo great so reflect is a stereo is it yes foreign [Music] foreign so this next one is really cool remember Dan talked about a doubling delay earlier yeah this is a super short doubling delay plus a regular DeLay So you get 10 to 20 milliseconds right as a double plus your regular delay in the next setting Okay so [Music] that last one was actually the ambience so apologies right here we go then let's try this doubling and the regular delay [Music] [Applause] [Music] listen listen to the uh two very distinct repeats there when Dan hits the the black you'll hear a super short one and then one that comes after hey we'll stick some overdrive on and what I'll do is while he's playing I'll turn that doubling Delay from 20 milliseconds down to 10. okay which is what the variation control does I think just let me double check that [Music] yeah so the regular delay is available from 10 to 310 milliseconds right and then the doubling delay is 10 to 20. okay so give it a give it some triangle large [Music] foreign [Music] [Music] [Applause] [Music] oh my giddy Aunt for that sound alone I'm buying it over the dd200 or the carbon copy now it's fair to say you can set that up in the dd200 apologies for the ugly cut there we just did double check that you can do that in the dd200 and you can do something similar yeah however it's much easier in that yeah and that's pretty sound of it yeah it does sound really wonderful uh okay um have a just you have a play I'm gonna flick through a couple of other stereo Shenanigans okay so we'll get to wide which Brett Kingman really likes dual modulation pan and patterns okay uh okay [Music] thank you thank you foreign [Music] foreign [Music] [Applause] foreign [Music] [Applause] [Music] foreign [Music] [Music] thank you [Music] [Applause] [Music] [Music] foreign [Music] thank you [Music] [Applause] [Music] foreign it sounds absolutely wonderful lost for days yeah yeah it's it's really great so I'm I'm with you in that there are there's some sounds in that to hear that in an analog context is amazing it's not going to replace um there are digital things that you can do with delays that are uh that it won't replace but 99 of the time when you're using delay it's a it's a slapback it's a it's a long you know sort of echo in the background and it will do all that stuff yeah um so really I mean I'm looking at the Sur there thinking we've put that on there it being sort of king of modern analog delays it is mono isn't it it is mono I just realized so it's kind of a slightly unfair comparison yeah maybe we should just hear a couple of the mono modes and just hear the basic tonality yeah but back to back and then we'll finish off talking about the timeline and why maybe as great as it is you either would or wouldn't choose the 101 over something like um fully functioned modern digital device yeah but now there is only one for that though is that you just have to have a bow well let's see let's see um let's have a just have a quick basic listen to the Discovery then for those of you that have bought the Disco is it is a beautiful thing uh let me see if I can remember how to use it um we'll go back to I think it'd be probably fair to go into the modern mode on the so on the boss because it offers slightly longer times if if we feel we need to move from there we will let's have a quick listen to the Discovery down and see what we can I can't discover [Music] one thing that is immediately brilliant about the discovery is the fact you can affect the filter on the repeats now there's plenty of delays on which you can do this analog delays maybe not quite so much on a lot of digital delays there's no obvious way to do that on the dm101 no it's just within the sound of the parameters I don't think there's any hidden features we've had a look at the cheat sheet so just have a listen what I'll do is um I'll get down to play something and I'll filter the top end off and then the bottom end off and you'll see the effect that that makes okay [Music] [Applause] [Music] what you will have noticed in the carbon copy is that there is a gentle filtering off of top and bottom end in the way that it goes off in the repeat so just listen to that I say hold on a second [Music] yeah it gets thinner down that curve and by manipulating these controls here on the on the um on this we can get it to do something similar [Music] [Applause] [Music] oh [Music] [Music] so what we've got there on the Discovery is I've I've low cut a little bit so that as it goes off the the repeats lose the weight of the bottom end which is another great way to help them sit underneath what you're playing let's see how close we can get to that with the dm101 so let's hear The Discovery again [Music] [Music] yeah that I there's a the 101 has a Clarity to it which is great but being able to filter off that bottom end in the discovery yeah is really magic I'm sorry to say I significantly prefer the sound of the discovery in that that mode that particular example now that's not to say the 101 can't be manipulated in some of the other modes and has lots of other features but just the Straight Out The Gate yeah Integrity of that sonically and being able to tweak that uh the way that it goes off for me that's kind of everything because if you're using a slightly more Bassy sound or I don't know wherever you happen to be that night there's a lot of bottom end or there's a lot of top end you can instantly tweak the delay to sit under because that is the pro I don't want to speak for everyone but that's the problem I have with delay yes the minute it's more prominent is the minute that it starts to kill everything I'm trying to play yeah and it's top end in delay repeats is discussed a lot yeah but bottom end is something that is so important is really talked about and having the filter on the bottom end and the repeats is is so huge yeah and of course it's so Dad the delay that Dan and I use most of the time is the free the tone um flight time the future Factory which you can you can filter on the repeats of there it does a pretty good uh approximation of an analog delay but it doesn't sound like an animal delay in the way that a b BBD type analogy does sure um I'm just seeing if any of these other modes would have been more relevant for that no I don't think so interestingly the classic uh one thing we haven't listened to is just straight up mode I'm interested to see how much delay time there is in the straight up mode okay okay [Music] foreign [Music] to make that clear the classic Mode has up to 1200 milliseconds so they're obviously using all the all the chips more chips there to get the delay what's the noise like just out of interest on those longer delay times that's over here foreign it's pretty impressive so in order to get long delay times out of analog chips what's the problem uh so it's this basically the sampling rate uh as the as you increase the clock time the it's a what happens is it's basically an electrical charge that's is the ring they call a Bucket Brigade thing it's it passes this electrical charge down the chips which is what gives you the delay and the as you increase the delay time you have sort of less Integrity by the end like you've you've slopped out all this all the excess water um so with analog delays the shorter the delay time the more clarity and Fidelity that you have in in the delay the longer the delay times um because you can take a normal analog delay chip and give it a really long delay time but it'll just there's nothing left and it becomes really noisy doesn't it noise ratio gets really out of hand which they seem to have managed brilliantly well yeah yeah I mean there is a certain Advantage when the delay repeats are dark a lot of the noise you end up hearing is high-end so it's it's gone by then sure yeah again it's great I mean it straight out of the gate in order to be hacked in order to have an analog delay that will do 1200 milliseconds this is amazing in addition to all that other stuff bearing in mind we were saying earlier the carbon copy goes up to 600 I think somewhere around there so if you do need those longer delay times it's a great way to it's a great way to do it because the other thing practically speaking about the 101 you're gonna have to have a big reason to replace your single delay pedal with that on your pedalboard because it takes up two pedals worth of space at least yep so you're going to need to need more than one delay pedal can do yeah the the big thing with that for me is that you've got it's programmable right presets presets how many presets uh well it has four on the top it's got if you use MIDI you've it's 128 that you can you know access like midi stuff so in that sense if the sound is something that you can utilize especially for stereo players then you can program your sounds up store them and recall them via midi yeah which is massive yeah yeah you know expression pedal capabilities so you can control all the knobs apart from the um the delay mode like the engine select you can control all the knobs via an expression pedal yeah so in that sense it's it's sort of similar uh to the timeline where you can store your sounds as presets you know control them all via an expression pedal in actual fact the only delay that we have here that won't do that is the carbon copy yeah right because these are all programmable yeah one of the reasons we love the service so much also can't forget um our dear friend Joel corty um at Chase plus audio you know when they bought out their uh the first delay the tonal turn the recall yeah and then there's a red knob version there's a red non version of Blue Knob version and they had all that capability also as well yeah I mean on the subject of uh presets don't know how how many you need for me four is enough yeah uh and that's one of the other reasons I would say if I was going to buy one delay pedal tomorrow it would be the dd200 sure because those if you can see here if you come out of um tap Tempo mode by simply pressing and holding this switch you can go from manual mode which is where we are now to preset mode and and stomp through your four presets yeah uh which for me is enough because it it's no coincidence that those things we showed you earlier happen to be the four things that I would tend to use slap back doubling uh um medium length delay that will work for anything and then just a straight delay that I can tap at whatever Tempo I need it for for the tune sure and that that tends to cover anything I would need for delay so we can do that as well on the on the boss here here we go manual mode preset one preset two preset three preset four and you'll have seen this in all the other demos it is simply a matter of getting a sound down [Music] [Music] how good does that sound what is that uh preset one I have no idea what it is no it's not I I've I've I've gone to preset one but I've amended the knobs oh okay so now I'm Gonna Save the preset oh please save this it's awesome it's the Dual modulation so we've got a dual stereo delay with different modulation well with independent modulation on both sides so I think we press and hold yep we then select the one that we want to select in which is one and then we press and hold again so now when we cycle through our presets just let's see if it's there [Music] [Applause] [Music] [Applause] [Music] oh that's killer that's really awesome that is really really killer okay so uh presets as you can see four available from the top panel using this the middle switch there plus your manual mode so you could set the knobs there's actually five you could set your knobs where you want them for manual yeah and then have four additional sounds yeah okay final question then um the killer question really could an analog delay ever replace something like a timeline yeah that's a and that's a big one for me because the short answer for any one of you who uses presumably it's got all kinds of sparkly shimmery stuff and all that so if you use that stuff no of course it can't because it won't do that yeah but take the crazy what's it even called that stuff uh well you've got Shimmer delays you've got Shimmer that's the word I was looking for yeah you've got um so okay this is a um so this is called ice it's like a pitch Shifty reverse thing it's just an example of something that you can do in the digital realm um [Music] and then you've got I mean it's it's you know and then you'd be able to um change the pitch of that using an expression absolutely yeah all that stuff that swells [Music] foreign [Music] Dan was going to put the timeline on today I said do we have to use it because every time I use it I can't make it work [Music] [Music] so pitch Shifty you know yeah so clearly an analog delay is not gonna give you any of that unless you use a bunch of extra processing in order to create that out of the pedal itself no so yeah for that then for your crazy sounds super modulated if that's the stuff you're into absolutely if that's the stuff you're into you as beautiful as some of the ambient stereo sounds are on the 101 it's not going to give you if the you know the pitch shifting stuff um you know built-in Looper you know so I guess it depends on what you're using the timeline for the reality is 99 of the stuff that I use the timeline for is Echoes that's the question in it okay so you've got a gig tomorrow night yep what what delay sounds do you need and this what are we talking about like a standard barroom cover type gig what delay sounds do you need I I need a like a doubling thickening delay for rhythms right let's set that up then so we'll go on the Vintage uh delay yep we'll put the delay time down to you tell me where you like it and then we'll save it okay [Music] [Music] great good yeah so we're going to save that to one I know seven to two too late yeah yeah so you're doubling delays in number two yep yeah what do you need next um I need a I need a a sort of long echoey memory man type delay so modulated uh single head yeah modulated how many milliseconds 300 300 and between 300 and 400 so we could do that either in the dm2 which will be darker or we could do it in the modern which will give you a bit more Fidelity is then uh vintage oh that is modern yes okay uh so would you say about 300 ish yeah [Music] let's just check that it is 300 a minute uh that's that's let's just see [Music] nice yeah 300 yep how much how much intensity and how much delay book uh delay volume down a bit that's it and a bit of modulation yeah lovely it's gonna be a bit of just give me a bit of um grunge for that just so I can [Music] lovely yep perfect so we'll save that to two three yep and then what else do you need uh just a a one for one repeat uh that you can tap that I can tap okay so if we go to uh try the multi-head for this one you don't want to Stereo One yeah we've got that one haven't we we've got that we've got the mega stereo okay yeah sometimes you've got to you sure you only want one head uh give me yeah yeah no you do do one and two one and four and just tap just tap that for me [Music] hang on so is the tap setting head one yeah it must be yeah yeah okay forget that let's go into a single head all right uh so we'll go to um the modern again and you just want one actually let's not be doubling in your delay that worked didn't it yes that is so good and then the second delay would be oh yeah yeah [Music] foreign [Music] [Applause] [Music] so now you've got your four delays yep you've got your uh let's let's just play them through [Music] [Applause] [Music] thank you [Music] foreign [Music] slightly modulated analog delay thing yeah I could I could make that work all the stuff in the timeline unless you were doing a specific set that required those otherworldly sounds yeah I think you'd be I think that would do you it would absolutely do me it would absolutely do me I the stereo stuff has blown my mind yeah um it's it's done so well I'm with you as to be if I could have the control on the bottom end roll off yeah really cool tone knob would have been killer also I don't know if you notice there is a a bit of a lag between um preset yeah recall yeah that is a couple of seconds and you've got to get uh it's got a sort of re-purpose the chips and stuff and yeah so in a in a modern digital delay you'd get spillover between your presets yeah uh not possible in the analog or at least not possible in the analog realm without a load of other rubbish that would make it much worse sure fair fair yeah so when you do change presets you don't get the spillover you can get spillover between on and off yeah so you can set it to if you hit the delay off your Trails will continue or you can have just a hard off as it were sure but not between presets and that might that might be a deal breaker for some of you sure so I would of all these delays I'd absolutely have the 101. because I could literally do 90 five percent plus of everything I need with that I will probably have another digital delay on the board as well just because there's sounds with digital devices you just can't get with anything else like that you know I love 12-bit you know like dd3s and stuff that that sounds is really cool but I think they have done an exceptional yeah that is properly Bonkers good I mean I hope it comes through on the video but once Dan starts to dial in a sound he likes he then stops playing the guitar and something approaching music starts to happen and if if I could sum up what analog delays do it is that yeah it it it gives you this kind of bed to play on or this thing to lean back on or something when you get it dialed just right because it's not true serve it doesn't get in the way of what you're playing and everything that it's creating sonically harmonically and underneath is complementary not not fighting yeah and for me that that is why analog delays remain so so lovable yeah personally I'd take the sir still sorry um I don't need stereo sure I only ever run delays wet dry yeah uh and the ability to knock those the bottom end repeats off the bottom end uh is actually more important than all the other bells and whistles sure to me but stereo everything else that it has in it clearly uh the basic feature set is considerably more yeah yeah but yeah I think I've done a really wonderful job I'm so impressed that they would do it I mean it's a hard thing to do yeah you know to like to say okay we're gonna do a you know multi-engine programmable delay pedal and it's going to be analog yeah yeah yeah that's a big deal so hats off to boss for doing that not aware of anything else like it are you no not with the stereo capability that's got don't think anything else exists in that realm at this point um in the purely analog realm let's just say it once again you know if you're looking at it going well hang on a minute my TC electronic flashback does all that it's digital yeah this is genuinely analog amazing so Happy Days happy days indeed yeah I how much is it then it is it's 400 plus pounds uh it's in the ballpark of the timeline I believe yeah I think it's 449 but please check that timeline is about the same Maybe 429. sir Discovery depending on where you buy it is I can start with a seven okay and the um dd200 is still you can still pick them up around 200. wow 200 to 229 so value for money every single day of the week dd200 and I will reiterate what I said at the top of the show that's the delay puddle I would buy if I could only have one right and I was on a sensible budget yeah because it does most of everything sure for a really decent price yeah and it sounds good yeah um oh look Mick picks the most expensive one again do you pick the dd200 no no I I would have the sir if I oh sorry of course today yeah right yeah yeah yeah sonically I would have the sir yeah that's beautiful but yeah but yeah I'm I'm the damn one maybe going straight to the pool straight to the pool room yeah you better get a bigger pull down I think definitely brilliant well thank you so much for watching hope you enjoyed that um again please subscribe if you haven't subscribed already massive thank you to our dear friends at Anderson's music uh and Guildford and Surrey and our mates in Australia at pedal Empire um also massive thank you to anyone that's gone to that pedalshowstore.com yes buy merch please buy merch it's the predominant way we fund this show one other way is that pedalshop.com in the US where you can pick up I don't know most of this stuff probably some of it anyway um US and Canada check that out all the links and everything will be in the description below okay it was a bit of a bitty show today yeah not much extended playing sorry about that but that is kind of the nature of comparing things listening to repeats of delays is a bit like nails down a Blackboard but hey someone's got to do it down indeed indeed uh before I go massive thank you to all of our patrons on patreon um and join us on Mondays for viewers comments and questions our patrons also get the podcast of our vcq and we have monthly giveaways for our patrons as well we do so yeah uh have a great weekend and we'll see you soon bye thank you foreign [Applause]

Channel: That Pedal Show

Views: 69,354

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Id: MxapIxkDmAs

Length: 73min 54sec (4434 seconds)

Published: Fri Jun 30 2023