Some of Jeorge Tripps coolest circuits were based on pedals that were relatively unheralded in their day. The preposterously rare Blue Hippo, for example, was derived from the Boss CE-2, an underappreciated yet powerful chorus that has since become a sleeper classic.
The new Way Huge Blue Hippo MKII is a bucket brigade-driven analog resurrection of the original Blue Hippo, but with an added vibrato function. It’s bound to stoke fans of BBD choruses like the CE-2 and Electro-Harmonix Polychorus, as well as Way Huge devotees who missed out on the original Blue Hippo.
Buckets of Blue
At a glance you could mistake the MKII for an original Blue Hippo. The new vibe toggle switch and the blinding/blinking LED are the most overt differences. Inside, the MKII circuit reveals the sense of order and design that’s the norm for Tripp’s new Way Huge pedals. The circuit board “floats” independently from the chassis-mounted input/output jacks, while the pots, toggle, and soft-relay footswitch are attached to the board.
It’s a secure-looking design. The input, output, and 9V DC jacks are top-mounted. You can also power the pedal with a 9V battery, and the easy-access hinged door makes changes fast and easy, even if the pedal is mounted on a board.
Ratings
Pros:
Pretty, deep, and shimmering analog chorus effects with nuanced modulation curves. Hip vibrato circuit. Sounds killer with fuzz.
Cons:
None
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$169
Way Huge Blue Hippo MKII
jimdunlop.com
Spun And Twisted
There’s great depth and complexity to the Blue Hippo—both in the harmonic color you hear at every point on the modulation curve, and in its subtle-to-submarine chorus textures. The sonic likeness to the original CE-2 is often uncanny. But there’s EHX Polychorus color in the mix too, especially at deep settings.
The Blue Hippo’s deep, warbly modulation is intoxicating. But I also love the subtler side of the pedal’s persona. Slow speeds and mellow depth settings in the lower third of the control’s range gave electric 12-string arpeggios extra body and a pretty touch of animation. The sonic sum can almost serve as a boost in a mix, highlighting critical high-mid content via a touch of extra motion. It’s almost counterintuitive, given how modulation effects like tremolo can create a perceived volume drop. But it works, and in a hip way that you might not immediately perceive as chorusing.
The Hippo is also a great match for fuzz. Paired with a silicon Fuzz Face clone, it did a better job communicating the swirling, unhinged soulfulness of Hendrix’s circa-’70 fuzz-plus-Uni-Vibe tones than many Uni-Vibe-inspired pedals I’ve played. The harmonic richness and nuanced modulation curves that make clean chorused tones sound so rich also excite high-mid fuzz content, adding presence rather than obscuring the signal.
The real bonus is vibe mode. While there may be more complex or versatile vibratos out there, it isn’t easy finding a BBD-driven one at an affordable price. The MKII’s vibe is beautifully deep. It can be disorienting or subtle, depending on your depth settings. It’s got shadowy authority in the lows and low-mids that adds modulation weight you just don't get from many digital vibratos.
The Verdict
With its deep chorus tones, queasy vibrato sounds, and capacity for pretty and subtle variations of both, the Blue Hippo is a chorus for folks who don’t especially like chorus. It has an expensive, sometimes sublime musical feel, minus the boutique price tag. Even for those who only occasionally use such modulation effects, it’s a small investment for so much added color.
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Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s 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 can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ 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 won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s 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 Silos’ 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 proximity—an 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 Silos’ 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 that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ 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.
EarthQuaker Devices Silos Multi-generational Time Reflection Delay Pedal
