Pre-digital delay emulations are full of quirky character.
Superb warts-and-all retro delay sounds. Great variation and tweakability within each model. Desktop and mobile apps for editing via USB and Bluetooth.
No real time modulation. Power supply not included.
$399
Universal Audio Starlight Echo Station
uaudio.com
Universal Audio excels at wart-and-all models of vintage audio effects. True to form, their Starlight Echo Station replicates three pre-digital delay effects in all their wonderful wartiness. Its algorithms derive from the tape-based Maestro Echoplex, the bucket-brigade Electro-Harmonix Deluxe Memory Man, and the Cooper Time Cube, an obscure effect that generates echoes via (no joke!) a length of rubber hose. There's also a modern digital delay.
Delay of the Land
Each algorithm has three variations, selectable via toggle. A color knob adds additional variations, while another knob introduces tape wobble or other modulation effects. Starlight stores one sound in memory, so you can toggle between the current front-panel setting and the saved effect. There's a tap-tempo footswitch. With its dual effect processors, Starlight provides true stereo sound and seamless spillover when switching algorithms.
Tape EP-III
This mode resurrects the Maestro Echoplex tape delay. The brightest, cleanest setting is based on the EP-4, the "studio" Echoplex that added a compressor and bass and treble controls to the signal path. The B and C algorithms derive from better known EP-3, one with a slightly worn tape and motor, and one with even greater wear and tear.
The EP-4 settings are perfect for clear, articulate delays with subtle analog coloration. The B and C settings display the treble loss and playback glitches of a well-loved EP-3. UA didn't just slap on a low-pass filter and a pitch LFO here though. This really sounds like a geriatric machine. The modulation knob adds simulated wow/flutter, while the color knob sets tape input level. In other words, you can overdrive the modeled preamp.
Analog DMM
This effect mimics Electro-Harmonix's Deluxe Memory Man with its bucket-brigade delay chip. Nowadays this technology's limitations are its chief appeal. The wet signal lacks treble, and fidelity decreases with each echo repeat. These soft, lo-fi delays sit discretely behind your dry signal, evaporating before they outstay their welcome.
Starlight nails this quirky color, especially the idiosyncratic distortion. The modulation knob clones the original's chorus and vibrato effects. Again, the color knob drives the input level for additional distortion. It's a stellar simulation, full of warmth and weirdness.
UA didn't just slap on a low-pass filter and a pitch LFO here though—this really sounds like a geriatric machine.
Precision Delay
This straightforward digital delay generates crisp, non-degrading echoes. Here the color knob is a low-pass or high-pass filter that darkens the echoes or rolls off the bottom end. Meanwhile, the modulation control adds chorus or flange, simultaneously controlling mix, depth, rate, and feedback. Slight delay-time tweaks uncover cool new colors.
Cooper Time Cube
This obscure "garden hose delay" has acquired a cult following. The original could only generate 30ms of delay. That's too short for a perceptible echo—it was simply an early doubling effect. UA's emulation adds greater delay times, feedback, and tempo sync. (The original Cube would have required a half-mile of hose to generate Starlight's longest delays.)
The core tone isn't as freaky as you might expect. The wet signal is a smaller, filtered version of the dry signal that rarely overpowers it, especially if you nix some treble. There's no modulation here — instead, you get bass and treble filters. These discrete echo tones suit many musical contexts, however.
The Verdict
The Starlight Echo Station convincingly conjures tape and bucket-brigade delays in all their anarchic glory. I'd consider buying it if it only included the Echoplex or Memory Man simulations. The digital and garden-hose delays are welcome extras. Starlight has a "Goldilocks" interface: lots of tonal options without excessive complexity. It occupies the same price category as fine delays from Strymon, Eventide, and others. But if you cherish the weird, warped aspects of pre-digital delays, Starlight may be your best option.
Four top speaker-emulators from Mesa/Boogie, Two Notes, Boss, and Universal Audio get the PG review-roundup treatment.
Guitarists have searched for ways to capture big amp tones at low volume since time immemorial, or at least for the last few decades. The quest became more urgent during COVID, as many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music, not just on evenings and weekends, but 24/7.
Fortunately, solutions are legion: hardware amp emulators, faux-amp plug-ins, and—our focus here—load box/speaker emulators that let you capture the sounds of your favorite amps minus their usual volume. In fact, we're zeroing in on one particular type of product: load box/emulators that faithfully mimic the sound of a miked speaker via impulse responses.
Impulsive Behavior
Speaker impulse responses (IRs) are created by running a test signal through a cabinet and recording the results. The software then compares the raw signal to the sound that emerges from the speaker, and imposes the same coloration on raw, direct-from-amp tones.
Meanwhile, the load box makes your amp "think" it's connected to a speaker. (Running an analog amp without a speaker load is a quick way to destroy the amp.) The four devices examined here include speaker-out jacks, so you can play through your speaker at reduced levels if desired while simultaneously capturing the direct IR sound. All four offer attractive faux-speaker sounds. Beyond that, prices and features vary dramatically.
While we're specifically examining stand- alone devices, it's also worth noting that amp manufacturers—among them Revv, Fender, Victory, and Mesa/Boogie—are increasingly offering built-in cab IR tech, too.
During COVID, many of us needed to carve out sonic space for remote-schooled kids, telecommuting roommates, and housebound neighbors griping about loud music—not just on evenings and weekends, but 24/7.
About the Demo Clips
I recorded all clips using a ReAmp, so I could run the identical material through each device without having to worry about performance inconsistencies. Each device is represented by three clean tones and three distorted tones. All were recorded through a Carr Lincoln amp, a Vox-inspired boutique model. The test guitars are a pre-CBS Fender Stratocaster for the clean tones and an '80s Gibson Les Paul with retro-style PAFs for the crunchy ones.
Exercise caution when making direct sonic comparisons. The available models and effects vary from device to device. Also, since the Mesa CabClone IR+ has no effects, its clips lack the fattening compression and rich ambience of the rival examples. But CabClone users can easily add those effects within the DAW or at the mixing desk. Finally, remember that only the speaker/cab sound is under review, not the amp tone. Results vary immensely depending on your amp of choice. For example, you may not dig the vintage-flavored tube distortion heard here, but connecting a modern, high-gain amp would instantly yield modern, high-gain tones.
We'll proceed in ascending order of price.
Unsurpassed effects, intuitive operation, and a diverse set of speaker emulations elevate this top box to industry standard status.
The three devices reviewed here cover similar territory as Universal Audio's $1,299 OX Amp Top Box. In some cases, the OX influence isn't exactly subtle.
We reviewed the OX almost exactly two years ago. I purchased the review model and have used it regularly ever since. The OX proved to be a hit, acquiring a large pro user base. It remains a go-to solution for low-volume recording and related tasks. I stand by the original review, and the device hasn't changed much since it debuted. So this is a rare opportunity to revisit a piece of gear after years of use while comparing its features to those of newer arrivals.
IRs vs. Modeling
Universal Audio refers to its emulating process as speaker modeling, not impulse responses. Impulse responses are realistic but static snapshots, whereas the OX aspires to mimic speakers in varying states, with a front-panel speaker breakup knob that introduces the harmonic variations that occur when speakers are pushed to extremes.
The OX's speaker emulations are magnificent. You get 22 superb models based on Fender, Marshall, Vox, Mesa, and Hiwatt cabs. There are six "usual suspect" mic models, and six virtual room mics. The room sounds are lush and realistic, and you can adjust the amount of room ambience via a dedicated knob on the box's front panel. You can also assign two virtual microphones to each cabinet, position them in virtual space, and tweak their characteristics.
But there's a downside to UA's proprietary speaker emulation process: You can't load additional IRs. I've never failed to find appropriate tones within the OX sound library. But if you insist on a specific speaker sound not included here, the OX may not be your best option.
Elevated Editing
The OX's software editor is attractive, powerful, and intuitive. Photorealistic depictions of the modeled gear make it easy to visualize your edits. You can store six favorite speaker/mic/effect combinations ("rigs") within the OX box itself and access them without connecting to a computer. The editors are available for Mac and PC. There's a mobile version for Apple iPads, but not for iPhones or Android devices.
The OX's software editor has the sophistication of a full-featured DAW.
You don't need a physical connection to edit the OX's sounds. The device includes its own WIFI network. Just connect your computer or iPad to the network, and tweak away. It's a great idea, but it is sometimes problematic in practice.
We must often go online while recording to access files, manage authorizations, and search for relevant data, which can mean constantly switching networks mid-session. Most pro users I know keep a dedicated iPad connected to the OX network, while the DAW's computer remains on its usual network. Even then, the iPad tends to drop its connection if it goes into sleep mode. I've always managed to get the job done via the OX's network, but this clever feature has never quite lived up to its promise.
Exemplary Effects
To my ears, Universal Audio's effects modeling is unsurpassed. The OX includes two dead-accurate models of classic recording gear: a Urei 1176 compressor and an EMT 140 plate reverb. There's also high-quality EQ and delay. All the devices covered here include excellent effects, and picking favorites is a subjective task. But to my ear, nothing else touches the OX's.
Other Noteworthy Details:
- The OX's impedance switcher supports 4, 8, and 16 ohms.
- The OX is an excellent direct recording preamp.
- The OX outputs sound via balanced stereo analog outs, digital AES/EBU, and optical digital TOSLINK. The analog outs are 1/4" TRS. But I've always wished there were pro-quality XLR outs, especially considering the OX's pro-level price. (The three newer devices all have XLR outs.)
- The attenuation level is continually variable, as opposed to using fixed steps.
- You can use one-, two-, and three-button footswitches (not included) to toggle the OX's effects.
- The OX has no MIDI control.
- The OX comes with 125 unusually good factory-preset rigs.
Despite the minor frustrations mentioned above, OX has been a miracle worker for me. I use it incessantly (including on many PG gear reviews) and I'm always delighted by the results.