Explore the history and mystery of three classic effects.
Letās take a dive into the swirling, shimmering waters of modulation and investigate the evolution of chorus, flanging, and phasing. Itās no exaggeration to suggest that nearly every electric-guitar-based album of the past 40 yearsāand every hearty pedalboardāfeatures one or more of these classic effects. Their development is integral to the soundtrack of our lives. In charting their history, Iāll cover a mix of classic pedals, vintage studio units, and elusive rarities, giving examples of their use in recorded music.
Iāve had a lifelong fascination with vintage and unusual recording gear and effects, and my company, Soundgas.com, specializes in supplying them. So effects are definitely my bag and I could fill this magazine just writing about vintage phaser pedals. But such passions tend to be personal, so inevitably there will be omissions in this article that, for some readers, are glaring, and for that I apologize.
As a certified delay freak, itās perhaps odd that my favorite of the three modulation effects, phasing, involves no delay at all. And my favorite chorus pedal happens to be a flanger. And my favorite flanger is the Tape Phase Simulator. Confused? Read on.
Modulation Demystified
Whatās modulation? A source signal is modified by another signal, which, in phasing, chorus, and flanging, is a wave created by an oscillator. Chorus and flanging use a modulated delayed signal mixed back in with the source (or dry) signal. The main difference between the two is that chorus requires a longer delay than flanging. Phasing requires no delay: A series of evenly spaced frequency notches are slowly swept across the frequency bandwidth, resulting in phase cancellation. Flanging uses 1 to 5 ms of delay and swept harmonically spaced frequency notches that create deeper phase cancellations. Chorus is very similar to flanging, but uses 5 to 25 ms of delay time to create a thickening or doubling effect, and is often used to shape or widen a stereo image.The Hammond Organ Company was a pioneer in modulation, as they also were in the classic spring reverbs I covered in āLords of the Springsā in the June 2018 issue. And the first electronic modulation effect was Hammondās legendary Scanner Vibrato, which debuted in the mid 1930s. This was an electromechanical device that created a rich, distinctive chorus and vibrato effect. In 2015, Analog Outfitters resurrected this device as their Scanner, which was reviewed in PGās January 2016 issue. That review includes an audio sample where you can hear the Scanner in action, and you can see a demonstration on YouTube, under the search term āAnalog Outfitters The Scanner Vibrato & Reverb Effect Demo.ā
All You Need Is Flange
If you take two tape machines or turntables and simultaneously play the same recording on each while manually slightly reducing the speed of one of them, you get flanging. Flanging got its name because you achieve this effect by pressing on the rim, or flange, of the tape reel. Or the term was coined by John Lennonāin response to a nonsense explanation of automatic double tracking (ADT) by George Martin. Whichever version you prefer, the technique predates the Beatles by at least a decade, and possibly two. Les Paul used acetate discs as far back as 1945 to achieve the effect, and David S. Gold and Stan Ross, the owners of Hollywoodās famed Gold Star Recording Studio, claim to have released the first commercial recording to feature flanging, āThe Big Hurt,ā by Toni Fisher, in 1959.Abbey Road engineer Ken Townsend invented ADT in 1966, when John Lennon became tired of recording double-tracked vocals. A second tape machine, previously used as a delay, was varispeeded by an oscillator to mimic the subtle pitch variations of a separate performance. The creative possibilities of this process were not missed by the Fab Four, and Revolver features many examples, although the most famous, Lennonās vocal on āTomorrow Never Knows,ā is not ADT but an actual doubled recording. The following year, Glyn Johns engineered the Small Faces at Olympic Studios and created one of the most distinctive examples of ā60s flanging: the single āItchycoo Park.ā After that, and, of course, the Beatlesā āLucy in the Sky with Diamonds,ā the studio gloves were off and tape flanging was all over classic ā70s recordings, from David Bowieās āStation to Stationā to Queenās āKiller Queenā to the Eaglesā āLife in the Fast Lane.ā
The Shin-ei Uni-Vibe was a descendent of the companyās Honey Psychedelic Machine and Jax Vibra Chorusāand Soviet propaganda radio transmissions.
Phasers Set to Stun
The first phaser devices came from the Far East, thanks to the propaganda transmissions of Radio Moscow interfering with Japanese medium-wave radio.According to Shin-ei designer Fumio Mieda, the powerful signals bounced off the ionosphere, which varies in height, to create āchanges in pitch, phase, and amplitude.ā That inspired him to build the circuit that first appeared in the companyās Honey Psychedelic Machine and Jax Vibra Chorus. The latter became better known as the Uni-Vibe. Listen to āMachine Gunā by Jimi Hendrix on the live Band of Gypsys to hear the unmistakable sound of the Uni-Vibe at work.
In 1971, a young Tom Oberheim, the designer of many classic pedals and synthesizers, created the first phaser pedal for Gibson/Maestro: the 3-speed Maestro PS-1 Phase Shifter. The sound of Leslie speaker cabinets intrigued him, and he designed the PS-1 as a more compact option. It went on to sell 60,000 units and became very widely used by guitarists and keyboard players, and heralded the rise of the compact pedal phaser. John Paul Jones used a PS-1 live with Led Zeppelin on āNo Quarter,ā although the keyboard effect on the original recording was achieved by running the signal through an EMS VCS3 synthesizer. Three years after Oberheimās PS-1, two of the most influential phaser pedals were introduced: the Electro-Harmonix Small Stone and the MXR Phase 90. Both have had many iterations over the years, and their enduring sonic appeal is a testament to their superb design.
The many flavors of Small Stone include the originals by Electro-Harmonix, with the rare treadle model (upper left) and their more contemporary counterparts, as well as versions made under license by Russiaās Sovtek.
Totally Stoned
Iāve owned a great many incarnations of the David Cockerell-designed Small Stone and still have several early examples from which I would not be parted. They just have that sound. Cockerell was also the designer of the famed EMS Synthi Hi-Fli, which I wrote about in PGās July 2018 issue in āMonster Mutilators: Vintage Guitar Synth Pedals.ā That cumbersome device was a key part of David Gilmourās mid-ā70s recordings with Pink Floyd.When you want the sound of a Small Stone, nothing else comes close, save for the clones several modern boutique pedal makers have been inspired to build. I could write a whole article on the Small Stone alone: from its gestation amongst the circuitry of the EMS Synthi Hi-Fli to the very early Electro-Harmonix versions, through the Sovtek years to todayās Nano.
There can be drawbacks with vintage Stones, from volume drops to noise, and thereās always the potential that used ones have been messed with, but itās rarely something beyond the wit of a competent tech. I believe a good Small Stone is an essential ingredient in any serious audio arsenal, whether itās for the studio or on a pedalboard.
While Iāve been less impressed with some later vintage versions of the Bad Stone variant, I have a very early example that is quite stunning, as is the rare treadle version. You can hear the Small Stone everywhere, from Jean Michel Jarreās OxygĆØne to Radioheadās OK Computer.
In addition to the ubiquitous Phase 90āused by David Gilmour, Jimmy Page, Eddie Van Halen, and many othersāMXR also created the Phase 45 and Phase 100, which have more subtle sonic profiles.
Orange Juice
The MXR Phase 90 is a sonic giant in a minuscule enclosure. It was introduced in 1974 and quickly found favor with the eraās biggest guitarists, including David Gilmour, Jimmy Page, and Eddie Van Halen. Gilmour adopted his after employing the Uni-Vibe for the Wish You Were Here sessions. Page used a Phase 90 live with Led Zeppelin. And Eddie? āEruption.āThe early script-logo Phase 90s are more sought by collectors, and the very earliest, housed in ultra-lightweight aluminum āBud Boxā enclosures, are the ultimate in desirability. Iāve had many Phase 90s over the years, and there is little difference between script and block logo pedals of similar vintage, aside from the paintwork. But once I found a āBud Boxā version, my search ended. It sounds simply stunning. MXR also produced the Phase 45 and Phase 100, and both are excellent.
The Gerd Schulte Audio Elektronik Compact Phasing āAā is known as the ākrautrock phaser,ā but guitarists can find a more relatable use of the device in āCatch the Rainbowā on the 1975 debut album by Ritchie Blackmoreās Rainbow.
The Krautrock Phaser
Remember when I mentioned that my favorite chorus pedal was actually a flanger? Well, my most coveted phaser is ā¦ actually a phaser. (Had you for a moment, didnāt I?) Itās the snappily named Gerd Schulte Audio Elektronik Compact Phasing āAā Number 1. This Germany-made optical phase shifter was used so extensively by many of the most influential German bands of the ā70s that it became known as the ākrautrock phaser.ā If youāve heard the whooshing sound of Tangerine Dreamās Mellotron on āPhaedraā or the thick sweep of Kraftwerkās synthesizers on āAutobahn,ā youāve heard a Schulte. It can be counterintuitive to use, but it sounds like no other phaser and has a wide palette of effectsāespecially when partnered with a custom control pedal, which unleashes several otherwise hidden settings. Ritchie Blackmore and Jon Lord of Deep Purple also used the device, so its credentials are as much ārockā as ākraut.ā
The chorus circuit of the famed Roland JC-120 amp gave birth to the companyās first Boss pedal, the CE-1 Chorus Ensemble, which has been used on tracks by the Red Hot Chili Peppers, Rush, the Smiths, and Cyndi Lauper.
Join the Choruses
Rolandās Jazz Chorus amplifiers have proven hugely popular since their launch in 1975, finding favor with such bands as the Police, the Cure, and Steely Dan. Based on a bucket-brigade device (BBD)āan analog chip developed in 1969 by two engineers at Phillips Research Labsāthe ampās distinctive onboard chorus circuit was a hit, so when Roland launched Boss, their fledgling effects arm, it was with the pedal version of the JCās chorus, known as the Chorus Ensemble or CE-1. As the 1970s gave way to the ā80s, the sound of chorus was everywhere. Red Hot Chili Peppersā John Frusciante used a CE-1 on many of the bandās recordings, perhaps most notably, āUnder the Bridge.āPeter Hook of Joy Division and New Order created his signature bass sound using the original Electro-Harmonix Clone Theory, and Kurt Cobain was another EHX chorus fan, owning both a Polychorus and a Small Clone. The latter contributed greatly to his guitar sound on Nevermind. Iāve never had a vintage Small Clone, but for over a decade my pedalboard chorus has been the Analog Man Bi-Chorus, which is based on the Small Clone.
While more recent examples of the EHX Electric Mistress Flanger/Filer Matrix are 9V, the original versions were 18V and had a distinctive tonal quality that inspired some of David Gilmourās epic tones on Animals, The Wall, and his first solo album.
When a Chorus Is Not a Chorus
So, I mentioned earlierātwice, actuallyāthat my favorite chorus isnāt really a chorus. It happens to be a flanger designed by David Cockerell for Electro-Harmonix. The original 18V Electric Mistress is the stuff of legend. Nothing that came thereafter bearing the name could touch the first version (of which there were several iterations). David Gilmour and Andy Summers both favored this flanger over then-contemporary chorus pedals. If you get a good one, youāll be unlikely to ever let go of it, but do beware if youāre buying untried, for not all 18V Mistresses were created equal. In addition, the effects of age, misuse, and possible tampering by the uninitiated make these an especially tricky vintage item to purchase successfully online. Gilmour adopted his after the recording of Animals with Pink Floyd was completed. He used it for much of that tour and it was featured prominently on his first solo album. While the Electric Mistress was only used sparingly while recording The Wall, Gilmour had two boards built by Pete Cornish for The Wall Tour, with an 18V Mistress on each. Andy Summers used his on many Police recordings.
Original Mu-Tron boxes are legendary and have inspired many pedal builders and players with their three-dimensional tones. Their Phasor series of pedals, like the Phasor II (left), were compact and stage-ready, but the Bi-Phase (right) really found its home in the studio, becoming an essential element of dub recordings as well as rock albums, including Smashing Pumpkinsā Siamese Dream.
Phased In
Letās get back to phasers. As I said, I could fill this magazine with ripping yarns about this device. I especially enjoy Mu-Tron Phasors, from their first Phasor though the Phasor II, and on to the big daddy that stretched the definition of a pedal: the Mu-Tron Bi-Phase. All are excellent effects, but itās the Bi-Phase that I have to touch on here. It remains a studio essential much loved by dub producers from Lee āScratchā Perry onwards, and was the effect at the heart of the Smashing Pumpkinsā Siamese Dream. The albumās producer, Butch Vig, has described the Bi-Phase as āOne of the secrets to our secret soundāwe run everything through it. Everything. Itās fabulous.ā And producer Daniel Boyle reunited 82-year-old Lee āScratchā Perry with a Bi-Phase for their 2016 album, Back on the Controls, highlighting the monstrously proportioned blue phaserās impeccable dub credentials once more.
Producer Tony Visconti was an early adopter of Eventideās Instant Flanger, which appears on David Bowieās 1980 Scary Monsters album. It also played a key role in the soundtrack for the 1984 movie of Frank Herbertās sci-fi novel Dune.
Another remarkable phasing device is the Eventide Clock Works Instant Phaser PS 101. Even though tape flanging was faster for John Lennon than doubling his vocal performances, it was a time-consuming process. Because studio time is expensive, pro audio manufacturers were keen to find a more convenient solution. Enter the PS101 in 1971. This rack unit was the result of Eventideās attempts to create an electronic flanger. It delivered thick, lush phasing and mono-to-stereo effects. The PS 101 became a hit and was used on many classic recordings. Jimmy Page employed it while producing Physical Graffiti, both for his guitar and for John Bonhamās kit. Listen to āIn My Time of Dyingā and āKashmirā for epic examples. Page also used an MXR Phase 90 live.
Rolandās Rack Seriesāincluding the SDD-320 Dimension D chorus, the SPH-323 Phase Shifter, and the SBF-325 Stereo Flangerāquickly became studio favorites, employed by a range of producers, engineers, and guitarists.
The next big step in electronic flanging followed in 1976, with the arrival of the Eventide Instant Flanger, which was used by Tony Visconti for the distinctive piano sound on David Bowieās āAshes to Ashes,ā and the famous blue face MXR Flanger/Doubler, which was also loved by dub producers. Rolandās Rack Series brought the excellent SDD-320 Dimension D chorus, the SPH-323 Phase Shifter, and the SBF-325 Stereo Flanger, which all remain widely used and sought-after. Stevie Ray Vaughan fell in love with the sound of the Dimension D when he worked with Nile Rogers and David Bowie on Letās Dance, and it became one of his secret studio weapons, used in the mixing stage to subtly widen his guitar on solos.
More Modulators
The aviary of chorus, phasing, and flanging has even more rare birds. Hereās a smattering of additional species you might find interesting:
These are three iterations of the EMS Synthi Hi-Fli, which was responsible for many of the glorious modulation guitar effects on Pink Floydās Dark Side of the Moon.
EMS Synthi Hi-Fli. It may seem strange to consider using one of the most complex and expensive guitar effects on the planet as a simple phaser, but David Cockerellās masterpiece is quite superb and flexible when put to the task. If you donāt have a Hi-Fli on hand, console yourself with an early Small Stoneāan aural close relative.
Itās double the fun with the AMS DM 2-20 Tape Phase Simulator, which uses two delay lines to achieve the through-zero effect, allowing for more dramatic phasing and flanging sounds.
AMS DM 2-20 Tape Phase Simulator. My favorite flanger is, indeed, this phaser. The AMS DM 2-20 is without equal, and one of the only vintage units to really perfectly nail the through-zero effect by using two delay lines rather than one.
Now, itās worth taking one more digression to explain the through-zero effect. In flanging, one signal is played back at a fixed rate while the other is alternately slowed down and speeded up, and it either lags behind or moves in front of the original signal. When the modulated signal momentarily aligns in time with the original, total phase cancellation briefly occurs. Thatās called the āzero point.ā In the AMS Tape Phase Simulator, this effect is far more pronounced and dramatic than with most traditional flangers and requires complex and clever circuitry. Achieving the through-zero effect also requires two delay lines, as both the original and the modulated signal haveĀ to be capable of moving in time.
Marshall Time Modulator 5002 A System. Legend has it that Stephen St. Croixās incredible device was designed in 1975 to win a bet and was promptly exhibited at the AES convention a few days later. Finally released in 1979, the MTM is capable of a mind-bending array of effects, including positive (or additive) flanging, negative (or subtractive) flanging, automatic double and triple tracking, resonant flanging, and Leslie sounds. Stevie Wonder used one on Songs in the Key of Life. Soundgasā studio MTM came from Musicland Studios in Munich and was used on Queenās āAnother One Bites the Dust.ā That songās reversed piano sound displays all the hallmarks of an MTM. The later 5402 A System is even rarer and features extended delay times for even wilder effects.
AMS DMX-1580S Digital Delay and DMX-K Chorus Controller. The AMS stereo digital delay, fitted with a controller board and paired with the ultra-rare Chorus Controller, is your ticket to an ultimate classic ā80s stereo pitch-shifting chorus and vibrato that ranges from subtle sweetening to full-blown craziness.
Roland PH-830 Stereo Rack Phaser. The ultimate Roland monster rack phaser features two channels for true stereo operation. Itās very rare and simply superb.
Foxrox Paradox TZF. Iāve not heard later versions, but the original blue TZF was the first pedal I found that completely blew me away with its classic through-zero flanging effect. I still have it and use it almost daily.
Publison DHM 89 B2 Stereo Digital Audio Computer. This is a super-rare early digital pitch shifter/delay thatās capable of classic chorus sounds. Listen to the guitars on Cyndi Lauperās āTime After Timeā for an example. But beware when buying: Publison scratched off all chip IDs and schematics are non-existent outside of France. Repairs can be expensive, but these are stunning units and worth the trouble.
Pefftronics Super Rand-O-Matic SB-101. Dating from the end of the last millennium, but sounding unlike anything that had gone before or has come since, this unassuming little box of joy does chorus, flanging, and phasing, and a whole lot more. Check out this rare stomp if you can.
Lovetone The Flange With No Name. This is the rarest Lovetone pedal of all, and Iāve yet to corral one. If itās half as good as the Doppelganger (their gorgeous twin phaser), then Iām not going to stop searching until I finally find mine.
Another futuristic-looking member of the Mu-Tron clan, the Flanger has parameters that are manipulatedāafter their initial settingsāby a treadle.
Mu-Tron Flanger. The monster Mu-Tron treadle-controlled Flanger is by no means the wildest of the Mu-Tron family of devices, but, in keeping with its phase-shifting brethren, itās a sonic delight. As with many Mu-Tron stomps, you might need a bigger pedalboard to accommodate it.
This pair of Gelf Auto Phasing Units reside in the authorās studio, but were originally in Pink Floydās legendary room, Britannia Row. Their dials are basic but allow for precise control of phasing effects.
Gelf Auto Phasing Unit. These are insanely rare and very little is known about their development and manufacture, but their sound is legendary. We have a pair in the Soundgas studio that came from Pink Floydās Britannia Row Studios.
Dytronics CS-5 Tri-Stereo Chorus. Session royalty, including Michael Landau, Steve Lukather, and Dann Huff, used this huge-sounding rack chorus to achieve thickly layered ā80s guitar tones.
A/DA Final Phase and A/DA Flanger. Both of these pedals are worth investigatingāwhether vintage originals or ā90s and more recent reissues. The flanger, in particularly, is a serious contender for the sonically astute, and especially if you love getting wilder results.
If youāre looking for classic phaser āswoosh,ā a Roland Jet Phaser is the charmāgreat for adding sonic magic to both guitar and bass.
Roland Jet Phaser. It wasnāt what Ernie Isley used on āThat Ladyāāhe actually plugged into a Big Muff and a Maestro PS-1ābut it gets you very close in a single pedal. And itās part of the core sonic strategy of bass great Larry Graham.
Apologies for any omissions, but please feel free to chip in with comments and suggestions at the end of this article on premierguitar.com.
Classic recordings have a wealth of timeless examples of phasing, flanging, and chorus.
First up:
Jimi Hendrixās āMachine GunāThis distinctive guitar tone is practically part of the genetic code of the rock guitar canon. And, of course, itās live, unadulterated Hendrix at his improvising best, displaying the virtues of the Uni-Vibe phaserāset on stun.
David Bowieās āLetās Danceā
Itās Bowieās song, but the scene-stealing solo is by Stevie Ray Vaughan, aided by the Roland Rack Series SDD-320 Dimension D chorus. After producer Nile Rodgers turned Vaughan on to the device, it became his secret studio weapon.
David Gilmourās āMihalisā
Listen to one of the most hallowed flanger pedals, the Electro-Harmonix Electric Mistress, and go deep and wide under the control of David Gilmour on āMihalis,ā the opening track from his debut solo album, simply titled David Gilmour.
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Weāre giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win todayās pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, heās been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Coryās custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Coryās near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Coryās feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lightsāblue for Wah mode and green for Volume modeāmaking live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often ā¦ boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe itās not fun fitting it on a pedalboardāat a little less than 6.5ā wide and about 3.25ā tall, itās big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the modelās name, its control layout, and its dimensions all suggest a clone of Origin Effectsā much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176ās essence is retained in that evolution, however. The Pedal76 also approximates the 1176ās operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10ā2ā4 recipe (the numbers correspond to compression ratio and āclockā positions on the ratio, attack, and release controls, respectively) illuminates lifeless tonesāadding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But Iād happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQDās newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its partsāthings that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuakerās new Silos digital delay. Itās easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 itās very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voicesātwo of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, itās not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this canāt-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silosā utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly wonāt get lost in the weeds if you move to the 3-position toggle, which switches between a clear ādigitalā voice, darker āanalogā voice, and a ātapeā voice which is darker still.
āThe three voices offer discernibly different response to gain devices.ā
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while itās true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silosā three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximityāan effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silosā affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats thatās sweet for underscoring rhythmic patterns, while the digital voiceās pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silosā combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.