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
We had the good fortune of catching up with California hardcore outfit Drain on their Good Good Tour, a year after the release of their 2023 LP, Living Proof. A few hours before the band ripped Nashville’s Brooklyn Bowl, guitarist Cody Chavez gave PG’s Perry Bean the scoop on how he achieves his brutal rhythm and lead tones that form the basis of the band’s thrashy, metallic hardcore.
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Sparkly but Savage
Chavez’s first workhorse is this Jackson Virtuoso 6-string, finished in a dazzling deep blue sparkle. The band has a deal with the legendary manufacturers of heavy-music machines, and Chavez leaves his mostly stock, with a Floyd Rose tremolo system, locking tuners, and Seymour Duncan pickups. Chavez used to roll with heavier gauges, but these days, he favors .009–.042 strings.
Frozen Flamethrower
This Jackson X Series Soloist SL3X DX is finished in an insanely cool design dubbed “frost byte crackle,” and is Chavez’s favorite of the two Jacksons. It’s super light, with a neck-through-body construction and three Jackson pickups: two mini humbucker rail pickups and one full-size humbucker.
Tone Master of Puppets
In the past, Chavez played through all sorts of holy-grail tube amplifiers. But when he tested a Jackson guitar through a Fender Tone Master Pro, he was smitten with the great sounds and intuitive interface, so he’s brought one out on the road. He runs both his lead and rhythm sounds through the EVH 5150 amp profile, with different virtual effects chains for each preset. For his base rhythm tones, he runs an always-on Tube Screamer plus a light chorus and EQ, with settings copped from Dimebag Darrell. For leads, a more spacey, intense, “triple double” chorus is applied along with a slick digital delay. Chavez runs his guitar to the Tone Master Pro via a wireless system.
Power Up
When he first got his Tone Master Pro, Chavez ran it right into his Marshall 4x12 cab, and he couldn’t figure out why it was so quiet. A friend clued him in that he’d need a power amp to run with it, so he picked up this Seymour Duncan PowerStage 700, which powers his signal through the Marshall cab. In the future, Chavez might go totally DI, but for now, he stands by the power of a beat-up speaker cabinet blasting out gnarly riffs every night.
