This looks beautiful but is expensive!

Here’s a flip-side one:
The NuX Horseman is a fine overdrive.

I had it for a while. Really liked it. But for some reason I liked the cheaper Mostly silver klone better. Especially in the open setting with low gain and higher level as a fattening crisp and glassy boost. Mostly klones are awesome.
 
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
But dude, imagine how much better Pink Floyd's Echoes would have been... with MORE, better echoes?!
 
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.

I was just saying if I could only have one that’s the one I would pick. I don’t think that it’s the only thing that matters.

D
 
My fully stereo delay pedal

1706032984401.png



oh it is also my complete rig.
 
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.

You’re 100% right, when I said “mix” I really had a live mix in mind and I didn’t say that. Listening to a recording tonal differences in delays will definitely come through. In certain live settings a very careful listener could probably tell the difference too, but I don’t think most people could in most live scenarios.

D
 
In certain live settings a very careful listener could probably tell the difference too, but I don’t think most people could in most live scenarios.
I can't find it now, but once on Facebook some blues c*nt told me it would be impossible to tell the difference between a huge supernatural style reverb and a spring reverb, in a live context.

I genuinely think if you can't, then you need to get your ears tested!!

(not you you... but you know what I mean)

Digital and analog delay sound very different live for instance. I'd think most people could hear the difference in a straight a/b.
 
I can't find it now, but once on Facebook some blues c*nt told me it would be impossible to tell the difference between a huge supernatural style reverb and a spring reverb, in a live context.

I genuinely think if you can't, then you need to get your ears tested!!

(not you you... but you know what I mean)

Digital and analog delay sound very different live for instance. I'd think most people could hear the difference in a straight a/b.

lol I definitely didn’t put enough caveats around my opinion up there, wasn’t thinking that people could take it that far but you’re right. The context I thought I was talking about was the tonal difference that’s noticeable in a live mix between two different BBD-style delays at similar mix levels.

D
 
I can't find it now, but once on Facebook some blues c*nt told me it would be impossible to tell the difference between a huge supernatural style reverb and a spring reverb, in a live context.

Does the c*nt play in a slow blues trio where the music has lots of dynamics and space or is he the co-guitarist in an Avenged Sevenfold tribute band?

Context is always left out of these things! :rofl
 
Sorry for the wall of screencaps, but no MIDI Mix control on the Walrus Meraki... I guess they saved a bit of money there? :wat
1706036303677.png
 
Think it was intended to be used in front of a dirty amp maybe? I really liked the mix control tbh!

That is the first reasonable explanation I've heard. I guess that makes sense, I know of a lot of guys using CCs up front

I'm not one of them tho lol
 
Wow this thing does actually have a ton of my wishlist on it. I don’t think there’s a single other delay pedal that does a lot of that all at once. May have to interrogate this further…

There’s a part of my brain that says: simplify everything to an FM9, and there’s an evil part of my brain that says: F that, get a gigrig G3S and your ultimate version of all your favorite stuff and build the be all end all epic rig of your dreams…

D
 
Wow this thing does actually have a ton of my wishlist on it. I don’t think there’s a single other delay pedal that does a lot of that all at once. May have to interrogate this further…

There’s a part of my brain that says: simplify everything to an FM9, and there’s an evil part of my brain that says: F that, get a gigrig G3S and your ultimate version of all your favorite stuff and build the be all end all epic rig of your dreams…

D
Haha! Do what must be done.
 
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