The Eternity Delay is engineered with six studio-grade algorithms, six onboard presets (127 with MIDI), full MIDI control over every knob, switch, algorithm, preset, and bpm with MIDI clock.
Introducing the Eternity Delay from JET Pedals - the company's most sophisticated design to date. Every JET Pedal is engineered for the unique and diverse needs of worship guitar players, and the Eternity Delay is no exception. In JET fashion, the Eternity pedal boasts professional-grade features at an accessible price.
One of the more surprising algorithms found in the Eternity Delay is the JET Signature Rhythm Delay (JRD), a Slap & Quarter Note Delay algorithm. This algorithm is not commonly found in other delay pedals, but owner Junior Thomason has used it extensively to create massive sounding rhythm and lead sounds.
The Eternity Delay features an upgraded tap tempo, which averages the BPM based on the number of taps received. This results in extreme accuracy when MIDI clock isn't available. The tap tempo rate LED automatically syncs itself to the BPM and flashes on the downbeat of each ¼ note, solving the problem of flashing LEDs that appear to be out of tempo.
The Eternity Delay is versatile and can be used in any rig, whether running mono or stereo. At just $299 USD, it is a significant value in the market. It is available online at jetpedals.com and authorized international dealers.
For more information, please visit jetpedals.com.
Eternity Overview
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Tom Bedell in the Relic Music acoustic room, holding a custom Seed to Song Parlor with a stunning ocean sinker redwood top and milagro Brazilian rosewood back and sides.
A born storyteller, Bedell doesn’t keep his passion to himself. On Friday, May 12, at New Jersey boutique guitar outpost Relic Music, Bedell shared some of the stories he’s collected during his life and travels as part of a three-city clinic trip. At Relic—and stops at Crossroads Guitar and Art in Gilbertsville, Pennsylvania, and Chuck Levin’s Washington Music Center in Wheaton, Maryland—he discussed his guitars and what makes them so special, why sustainability is such an important cause, and how he’s putting it into practice.
Before his talk, we sat in Relic’s cozy, plush acoustic room, surrounded by a host of high-end instruments. We took a look at a few of the store’s house-spec’d Bedell parlors while we chatted.
“The story of this guitar is the story of the world,” Bedell explained to me, holding a Seed to Song Parlor. He painted a picture of a milagro tree growing on a hillside in northeastern Brazil some 500 years ago, deprived of water and growing in stressful conditions during its early life. That tree was eventually harvested, and in the 1950s, it was shipped to Spain by a company that specialized in church ornaments. They recognized this unique specimen and set it aside until it was imported to the U.S. and reached Oregon. Now, it makes the back and sides of this unique guitar.
A Bedell Fireside Parlor with a buckskin redwood top and cocobolo back and sides.
As for the ocean sinker redwood top, “I’m gonna make up the story,” Bedell said, as he approximated the life cycle of the tree, which floated in the ocean, soaking up minerals for years and years, and washed ashore on northern Oregon’s Manzanita Beach. The two woods were paired and built into a small run of exquisitely outfitted guitars using the Bedell/Breedlove Sound Optimization process—in which the building team fine-tunes each instrument’s voice by hand-shaping individual braces to target resonant frequencies using acoustic analysis—and Bedell and his team fell in love.
Playing it while we spoke, I was smitten by this guitar’s warm, responsive tone and even articulation and attack across the fretboard; it strikes a perfect tonal balance between a tight low-end and bright top, with a wide dynamic range that made it sympathetic to anything I offered. And as I swapped guitars, whether picking up a Fireside Parlor with a buckskin redwood top and cocobolo back and sides or one with an Adirondack spruce top and Brazilian rosewood back and sides, the character and the elements of each instrument changed, but that perfect balance remained. Each of these acoustics—and of any Bedell I’ve had the pleasure to play—delivers their own experiential thumbprint.
Rosette and inlay detail on an Adirondack spruce top.
Ultimately, that’s what brought Bedell out to the East Coast on this short tour. “We have a totally different philosophy about how we approach guitar-building,” Bedell effused. “There are a lot of individuals who build maybe 12 guitars a year, who do some of the things that we do, but there’s nobody on a production level.” And he wants to spread that gospel.
“We want to reach people who really want something special,” he continued, pointing out that for the Bedell line, the company specifically wants to work with shops like Relic and the other stores he’s visited, “who have a clientele that says I want the best guitar I can possibly have, and they carry enough variety that we can give them that.”
A Fireside Parlor with a Western red cedar top and Brazilian rosewood back and sides.
