This looks beautiful but is expensive!

The Waza re-issue goes up to 800ms.

Without tap tempo or subdivisions, so you’re kinda limited on what you can do with that 800ms. Its not even close to the functionality you get from the walrus or suhr units.

Clearly that functionality doesn’t matter to you, but it does to some players.

D
 
Clearly that functionality doesn’t matter to you, but it does to some players.

The tones are most important.
Unless you're the Edge, subdivisions are a waste of time and a distraction.
Same goes for tap tempo and/or a digital read out of how many BPM's you're at.
A great sounding delay in the 400-440 BPM range is all that's required.
I'm not looking for sound effects, just a bit of ambience.

IMO - YMMV
 
The tones are most important.
Unless you're the Edge, subdivisions are a waste of time and a distraction.
Same goes for tap tempo and/or a digital read out of how many BPM's you're at.
A great sounding delay in the 400-440 BPM range is all that's required.
I'm not looking for sound effects, just a bit of ambience.

IMO - YMMV

To me they’re both important. If I had to have only one thing, delays easily aligned to the music or the ultimate delay tone, I’d take the time alignment. In a mix the qualities of the delay tone are rarely heard, but their rhythmic alignment (or lack of it) is heard and felt.

I can’t stand delays over about 300-350ms that aren’t rhythmicly aligned to the music.

Different strokes…

D
 
How did those stuck with dreaded Tape Echoes, Binson Echorecs, and Deluxe Memory Men ever cope??

Poor bastards. Crazy they ever overcome the inherent inadequacies of the gear and made any music
with that trash. :idk





:rofl
 
How did those stuck with dreaded Tape Echoes, Binson Echorecs, and Deluxe Memory Men ever cope??

Poor bastards. Crazy they ever overcome the inherent inadequacies of the gear and made any music
with that trash. :idk
Just because races were won with Model-T’s doesn’t mean I don’t want a mid-engined Vette.

:sofa
 
How did those stuck with dreaded Tape Echoes, Binson Echorecs, and Deluxe Memory Men ever cope??

Poor bastards. Crazy they ever overcome the inherent inadequacies of the gear and made any music
with that trash. :idk





:rofl

Totally, no one should ever try to improve on the gear that came before. It was all we ever really needed. How big a deal is it really to put tape down around the knobs with marks for all the settings needed for various tunes and then just change them all live? Or because all that is too fussy just put a moderate delay on one setting and use it for everything even if it doesn’t sound the best.

Of course I’ve done all that, and maybe I’m crazy but I don’t really want to do it again. Or deal with tape units breaking. Or DMMs breaking. Or regularly needing to get the thing serviced or raise the input impedance or whatever else.

I’m personally really happy with the digital units for the most part. I do think it’s cool that people keep trying to make the best of both worlds though.

D
 
In a mix the qualities of the delay tone are rarely heard, but their rhythmic alignment (or lack of it) is heard and felt.


D
Then why pay the premium for digitally controlled analog delay? All of these digitally controlled analog delays are damn expensive. Especially for folks already using a multieffects unit with pretty darn close analog delay models built in with all the control/time alignment you could ever want.
 
If you're going to be the wettest of blankets; at least have a sense of humor about it

Shooting Star GIF
 
To me they’re both important. If I had to have only one thing, delays easily aligned to the music or the ultimate delay tone, I’d take the time alignment. In a mix the qualities of the delay tone are rarely heard, but their rhythmic alignment (or lack of it) is heard and felt.
I agree with you on the rhythm/tightness, but completely disagree with you on the tonal qualities.

In a mix I can tell the difference between different reverse algorithms across different brands, and I can tell the difference between a regular digital delay and its decay curve across different brands too. That's before you even get to the differences between Boss's Tera Echo and other filtery delay algorithms out there on the market.

Tap tempo is essential for me, because I always want to be able to make sure my delays are in time with the drums, at any point in a song. If the drummer drifts, I want to be able to correct for it - ideally without the delay calling attention to itself. So that means no odd glitches or buffer issues, no pitchy squirrel artifacts, and no muting of the wet signal during tapping.
 
There's also this one, similar sort of stereo analog BBD thing but in a smaller enclosure:

They've not shared what BBD chip it's using though, so maybe not the MN3005 "mojo" that the Walrus Meraki has if you're into that sorta thing.
 
The tones are most important.
Unless you're the Edge, subdivisions are a waste of time and a distraction.
Same goes for tap tempo and/or a digital read out of how many BPM's you're at.
A great sounding delay in the 400-440 BPM range is all that's required.
I'm not looking for sound effects, just a bit of ambience.

IMO - YMMV
Excuse Me Reaction GIF by One Chicago



My main delay setup for nearly anything with delay on it iis a stereo dual delay, 1/4t one side and .8th the other, then a reverse delay at the very end of my signal chain at 1/2t. Hogwash!
 
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There's also this one, similar sort of stereo analog BBD thing but in a smaller enclosure:

They've not shared what BBD chip it's using though, so maybe not the MN3005 "mojo" that the Walrus Meraki has if you're into that sorta thing.
Dahlia - for those that want the sound of analog, but also crave the frustration of mediocre digital UI and tightly spaced footswitches because small enclosure is small enclosure.
 
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Dahlia - for those that want the sound of analog, but also crave the frustration of mediocre digital UI and tightly spaced footswitches because small enclosure is small enclosure.
SECONDARY FUNCTIONS

Looks like it does offer independent mix and feedback controls on the two delays, so that might make @dk_ace happy.
 
These analog delays with tap tempo always intrigue me, but ultimately I think a modelled analog delay will always be my preference; provided it gives enough control over the degradation and "analogyness".

Way Huge Supa Puss is pretty hard to beat for analog w/ tap tempo imo

DM2w is one of the best analog delays around. Carbon Copy Deluxe too. Always a nod to the Memory Man lines, even the later 'TT' ones are good.

DM2w is amazing

carbon copy deluxe was trash imo, looked great on paper, was so dissapointed with it. Tried for a minute to make it work but honestly couldn't get rid of it fast enough. Traded it for a regular carbon copy plus cash and was much happier lol. WTF were they thinking with the mix knob dimed only being 50:50 wet/dry :wat:wat:wat
 
Excuse Me Reaction GIF by One Chicago



My main delay setup for nearly anything with delay on it iis a stereo dual delay, 1/4t one side and .8th the other, then a reverse delay at the very end of my signal chain at 1/2t. Hogwash!

I play too fast to be able to layer all that shit on. (y)
Seriously though, a bit of plate reverb or warm delay is just enough icing for me.

Achille's Cake
1706026481772.png


Drew's Cake
1706026573442.png
 
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