Digital Vs Analogue delay......

[glpg80]

i like the tone and feel of AD-DA converters from certain companies and certain companies algorithms. definately digital delays - but to be honest - it comes down to the unit and exact model series. some have got it, others dont. im not a fan of lexicon reverbs, and perfer TC reverbs and TC delays, but i dislike the 2290 model that is "world reknown".

it really comes down to personal taste and what you believe sounds good to your ears and what you apply it to for your needs.

 

[Zachman]

Discuss.

Eventide Time Factor. By far the end all be all of everything "delay" - D E A D serious.

V.

Disagree, though do think it's a cool pedal.

For me: End all be all delays, have categories: (Digital, Analog, Tape), and I have never been a huge fan of analog though acknowledge it's place in the overall scheme of things.

TC Electronic 2290
Eventide H8000FW
Lexicon PCM42, PCM70, PCM80, PCM81
Chandler
Roland SDE3000
AMS 1580S
Maestro Echoplex

 

[Zachman]

i like the tone and feel of AD-DA converters from certain companies and certain companies algorithms. definately digital delays - but to be honest - it comes down to the unit and exact model series. some have got it, others dont. im not a fan of lexicon reverbs, and perfer TC reverbs and TC delays, but i dislike the 2290 model that is "world reknown".

it really comes down to personal taste and what you believe sounds good to your ears and what you apply it to for your needs.

You don't like the 2290? How come?

The thing I wish it allowed is the ability to have true stereo delay w/ 2 different delay times simultaneously (ex 400mS Left, 800mS Right)

 

[sombersoul]

Analogue and digital - different applications, I would say. I have a Carbon Copy and a Hardwire DL-8 on my pedalboard. It's my personal mininum to have one analogue and one digital delay pedal. I also added a Marshall Echohead to experiment with cascading delays.

Generally, I use the Carbon Copy for unobtrusive, ambient delays - the kind you can leave on throughout a song. The digital delay(s) is (are) reserved for more experimental sounds where the repeats and delay times are of special importance and where a pristine quality is preferred.

 

[glpg80]

i like the tone and feel of AD-DA converters from certain companies and certain companies algorithms. definately digital delays - but to be honest - it comes down to the unit and exact model series. some have got it, others dont. im not a fan of lexicon reverbs, and perfer TC reverbs and TC delays, but i dislike the 2290 model that is "world reknown".

it really comes down to personal taste and what you believe sounds good to your ears and what you apply it to for your needs.

You don't like the 2290? How come?

The thing I wish it allowed is the ability to have true stereo delay w/ 2 different delay times simultaneously (ex 400mS Left, 800mS Right)

never thought of that to be honest. i know the DSP7500 and H7600 allow for true stereo effects control, as does your H8000 series model that you own. i guess they didnt have the processing power back then that they do now.

as far as the 2290 - it records thin and tinny to my ears and im not talking about the delays themselves, but the character of the recorded tone. all eventides have the same effect to my ears as well - but its a more sweeter type of recorded tone. again - its probably stunning in real life, but every recording ive ever heard from either company/unit has those traits. it lacks a mid-fullness warmth - compare a damage control glass nexus delay recorded back to back with the 2290 recorded delay, and you will see the character i mean. even though eventide units do it too, they also offer some of the best diatonic pitch shifting money can buy. so im in the market for an eventide for its algorithms and wont mind settling on that circumstance.

it all comes back to guys who look at gear after its recorded, and guys who look for tone that is live. its hard to explain this over a forum - but its two different type of traits and you can usually pin the player and their preferred style by the gear they like, use, and own.

 

[Zachman]

i like the tone and feel of AD-DA converters from certain companies and certain companies algorithms. definately digital delays - but to be honest - it comes down to the unit and exact model series. some have got it, others dont. im not a fan of lexicon reverbs, and perfer TC reverbs and TC delays, but i dislike the 2290 model that is "world reknown".

it really comes down to personal taste and what you believe sounds good to your ears and what you apply it to for your needs.

You don't like the 2290? How come?

The thing I wish it allowed is the ability to have true stereo delay w/ 2 different delay times simultaneously (ex 400mS Left, 800mS Right)

never thought of that to be honest. i know the DSP7500 and H7600 allow for true stereo effects control, as does your H8000 series model that you own. i guess they didnt have the processing power back then that they do now.

as far as the 2290 - it records thin and tinny to my ears and im not talking about the delays themselves, but the character of the recorded tone. all eventides have the same effect to my ears as well - but its a more sweeter type of recorded tone. again - its probably stunning in real life, but every recording ive ever heard from either company/unit has those traits. it lacks a mid-fullness warmth - compare a damage control glass nexus delay recorded back to back with the 2290 recorded delay, and you will see the character i mean. even though eventide units do it too, they also offer some of the best diatonic pitch shifting money can buy. so im in the market for an eventide for its algorithms and wont mind settling on that circumstance.

it all comes back to guys who look at gear after its recorded, and guys who look for tone that is live. its hard to explain this over a forum - but its two different type of traits and you can usually pin the player and their preferred style by the gear they like, use, and own.

No worries... I noticed a GIGANTIC difference when shifting from 1/4" I/O's to XLR in terms of the headroom and clarity, and learning to tweak the High frequency roll off, really does shape things a lot too. The physical placement in the signal chain is paramount to getting the results in a live rig... and as far as studio stuff goes-- It also comes down to the studio that is recording. (Neve, SSL, Trident etc... Studer, ProTools etc...). one of the commercial studios I recorded some 'For hire' session work at, was funny. The engineer (a friend of mine) was tripping out on the 2290 not doing what he wanted, and he said to me, "Hey Zach, you have one of these things right? How the hell do I get it to (he was trying to mess w/ the Dynamic delay feature and simultaneously have the thing pan), so I told him, and he just shook his head, and laughed. When I asked what he was laughing at, he smiled and said, wow you really know how to use this thing huh. To which I responded with a laugh of my own and said (in fun), well ya slacker-- try reading a manual. Nah, I've been using it since '87 and know it well.

 

[Strat+Marshall]

I usually prefer digital or bright, cleaner sounding analog delays. I usually don't really care for the dark lo fi analog pedals.
Then there is the Echoplex.