oooooooooohhhhhhhhhhhhhh my!
i've only played w/ it for a 1/2 hour. i was play'n w/ the reverse delay and my wife came running down stairs and said,
" thats @#$%^&* cool" i said ," yep, it sure is!"
i have $1000.00 dollar rack units that don't do some of this stuff.
bad ass,
- tom
Since I am confident that your tolerance for mind-blowing is pretty high, do this:
Plug into one channel and run a patch cord from that output to a chorus or flanger or phaser.
Now run a patch cord from that device into a volume pedal, or simply a clean booster whose output level can be damped down.
Now, run a cable from THAT into the OTHER channel. Take the output of the other channel and feed that to your amp. Turn the delay to something longer than a few hundred milliseconds, and, uh...kiss the sky.
No, let me revise that.
First, take an anti-psychotic drug of your choice, find a quiet room and comfy chair, and THEN plug in. ;D
What you'll get are a stream of repeats which never stop changing. Playing with Just make sure you have some means to keep a lid on the recirculation volume to avoid irritating feedback.
The Sweep, Swell, and Reverse modes are tons of fun, but you can ramp up the fun even more by setting the mix to completely Wet and using short delays. In the case of the Reverse mode, you can get it to mimic a Slow Gear by setting the delay to zero. There's a change, huh? Making a true reverse fake a Slow Gear? :icon_lol:
Now, if I could only get mine back from Jeorge. :'(
I bought one, too. I have a full-sized DL-4, and it's great, but it EATS space on the old pedalboard. The one thing I like best about the Echo Park is that the TONE of the echo is now separate from the effects on the echo. What I mean is that on the DL-4, you had your tape delays (tube and solid-state,) analog (with and without modulation) and digital (ditto.) The tone of most of the rest of the delays was either digital or solid-state tape. On the Echo Park, you can have a Sweep Echo with tape, analog, or digital - whatever you like. Ditto for Reverse, Ducking, etc. I think it's a neat feature to separate the tone options.
I leave mine in Tape / Quarter Note / Trails On all the time, except for 2 songs - one uses Reverse and the other uses the Sweep Echo patch. For my purposes, it's great, and I have enough room on the board to cram my modified MM-4 (I put a footswitch on the top, by the Line6 logo, to switch between "heel up" and "heel down" on the expression pedal input. Thanks, Jeorge!)
I'd really love to get a Liqua-Flange, but it'll have to wait a while.
Matt Farrow
Oh, man... too cool... I want one, too!!! :icon_cool:
~ Charlie
Quote from: Mark Hammer on October 27, 2005, 02:28:28 PM
Since I am confident that your tolerance for mind-blowing is pretty high, do this:
Plug into one channel and run a patch cord from that output to a chorus or flanger or phaser.
Now run a patch cord from that device into a volume pedal, or simply a clean booster whose output level can be damped down.
Now, run a cable from THAT into the OTHER channel. Take the output of the other channel and feed that to your amp. Turn the delay to something longer than a few hundred milliseconds, and, uh...kiss the sky.
No, let me revise that.
First, take an anti-psychotic drug of your choice, find a quiet room and comfy chair, and THEN plug in.  ;D
I'LL DO IT AFTER I DRINK 3-4 BEERS TONIGHT!!!!!!!!!!
cool mark,
- tom
What you'll get are a stream of repeats which never stop changing. Playing with Just make sure you have some means to keep a lid on the recirculation volume to avoid irritating feedback.
The Sweep, Swell, and Reverse modes are tons of fun, but you can ramp up the fun even more by setting the mix to completely Wet and using short delays. In the case of the Reverse mode, you can get it to mimic a Slow Gear by setting the delay to zero. There's a change, huh? Making a true reverse fake a Slow Gear? :icon_lol:
Now, if I could only get mine back from Jeorge. :'(
Anybody know what DSPs are being used in these?
Sean Costello
I don't know who makes the DSP's, but that honestly is not significant to the consumer. The DSP architecture is more important to the engineer/programmer in terms of making his/her life easier in more efficiently accomplishing what they want. The specs looked good: I think they use a 24 bit A/D D/A CODEC module and 32 bit processing. I can't remember for sure, but I also think they are using a 96 kHz sample rate.
Since they have more than adequate high-quality digital audio hardware, the important thing is the programming of the unit. They have done some fabulously wonderful programming on some aspects of the pedal, but I think some of the delay modellers are a bit much, since I notice a tone that is just not right as the delays start to fade out. There's something sterile in there that i can't put my finger on, but I know the more it gets processed, the more steril it becomes.
My theory is that the nature of digital filters (especially IIR filters) adds error upon error:
If sample "n" is recorded with p% quantization error, and [n-1] also has p% quantization error, then n + [n-1] has p% +p%, or in simple terms, double the error---but there is a probability that the error on sample [n] was too high, and sample [n-1] was too low, so adding n to n-1 cancells the error. This becomes random enough that this begins to look like noise. Digital noise.
So in an FIR (finite impulse response) filter, the number of additions of this sort generally looks like [n] + [n-1] + [n-2]... onto however high order filter you desire to use, thus not as prone to increasing noise rapidly, however, when you put this into a delay loop and feed it through the digital filter multiple times, this -120 dB noise may quickly increase to an audible level.
An IIR (infinite impulse response) filter feeds the output back to the input, so after "[n] + [n-1]" has added it's error, it's fed back to the beginning to do it all over again, and this can potentially increase noise quickly--very quickly. Now feed that back into a delay loop and repeat that process multiple times, it's not a wonder that the output starts to sound grainey when multiple delays are repeating and fading out. The S/N ratio is getting worse every time around the loop.
This is the crux of it, though. You couldn't do any delay modelling if you wanted to avoid the compounding error because you couldn't use digital filters to a great extent. You would not be able to improve this by looping to an analog filter since you would have to do the A/D D/A trick every time around the loop, which would probably make the problem even worse--though the noise may be different and produce a less sterile type of problem.
I think the only way to improve this is to use a compander--that would be doing the compression in the analog section before the A/D conversion, then use the DSP to expand it once it's inside the 32-bit processing brain where it could be normalized to the entire 32-bit resolution.
You would think 24-bit resolution would be more than enough, but if you think about it--when you're guitar signal is fading out, or you roll off on the volume knob, you may be using less than 1/2 the bit resolution so now you're down to 5 or 10 bit bull scale capacity, and this is when I notice the sterile sound of the unit--is when the note's softer and on the sustain and release portion--it's like it kinda turns to mist or dissipates into almost silence, but not really.
With a compressor, you will keep your amplitude up around the higher resolution mark, then expanding into 32 bits, normalized, would make all the difference, I think, because you would be using the full 24 bits, and you wouldn't lose much information of the signal due to truncation errors if expanding into 32 bits.
All that said, I think Line6 has done an excellent job on their digital stompboxes and are making a significant mark in music history. No damn analog pedal using BBD's could sound very good on that many repeats with that long of a delay time.
I did some math and...well I have to take some of my theory back. If one assumes a 5V full dynamic range, then 5/(2^24) is the discrete step between each voltage level. The error could be a maximum of half that, so the error is somewhere between 100 and 200 nV.
If the guitar level has faded to 10 mV, and is fed through a first order FIR filter, then on the 10th repeat through the delay loop the signal-to-noise ratio due to quantization error is still better than -70 dB. It's hard for me to imagine being able to detect this--just a little more oomph on your guitar, to an RMS of 100 mV, then your S/N exceeds -100dB, which is even good for hi-fi audio. At the full-scale 5 volts, your S/N is about -144 dB, which is about the thermal noise floor and better resolution would be overkill. In other words, a 24-bit digital converter could accurately reproduce the ANALOG NOISE on the digital output, let alone a signal that is 1000 to 10000 times greater.
I think I'm just biased and I'm hearing sterility that isn't there. Maybe it's just the voicing of the filters they use that makes something not feel quite right. Maybe it was all in the amp at the music store I demoed it on. I should try a different amp before I say the thing is sterile.
I have a couple of questions. Can you isolate the chorus from the delay on this and if so do you get a full sounding chorus effect? Also does this thing eat up batteries?
Quote from: vanessa on October 28, 2005, 12:09:06 AM
I have a couple of questions. Can you isolate the chorus from the delay on this and if so do you get a full sounding chorus effect? Also does this thing eat up batteries?
The chorus is just what is provided by the modulation control, in addition to what you have the delay time/mode set for. Each of the tone modes (analog, digital, tape) provides a different type of modulation (pitch shift, chorus, tape *wow*). I do have a bit of modulation dialed in most of the time, but I don't use the EP for mod effects per se. I can't remember thinking "I could replace my chorus with this!", but I would need check out that aspect of the pedal again. The envelope/filter effects are what makes the EP for me, in addition to the *meat&potatoes* delay settings. Oh, and the tap-tempo. I suppose I should try running it with batteries as an experiment, but I always use the adapter (I use the *blessed* Line 6 adapter). Speaking of experiments, I still need to try Mark Hammer's Electric Kool Aid Feedback Trip. :icon_biggrin:
Kerry M
I just remember having the DL-4 wishing the chorus could be made a little pronounced. I'm not much of a chorus person, so it would be cool if it were under the hood (or in the ball park) just for that once-in-a-while cover of ZZ Top’s version of "I Thank You". :icon_lol:
Fine! I want one too! I am just another sheep following you all (the herd) Im serious. They sound like one of the best deals out there for what you get.
I have the Tap Trem and Space chorus, they EAT batteries in an hour or less !!
The "cheap n Nasty" one that is supplied lasted about 15 minutes :icon_eek:
Great pieces of kit, but the weight for a pedal board is way too much !!
I gig in Europe a lot, so we're alway's having to be careful with weight of
equipment on Aircraft, over 1Kg per pedal, is just too much ....
Marty.
Has anyone compared this to the Ibanez DE-7? I know that there is more functionality with the echo park but I hear the DE-7 sounds better, is better on batteries and is half the price.
Any schematic for the Echo Park or DE-7?
QuoteAny schematic for the Echo Park?
:icon_lol: :icon_lol: :icon_lol: Wouldn't do you any good at either cloning one, understanding one, or modding one.
Batteries: I'm not sure what battery drain is on the others, but when I inquired about the nature of the stereo in the Echo Park, Angelo (the programmer) told me that they had made some compromises in the stereo implementation in order to be able to still get about 6hrs duty from a fresh alkaline 9v (fancier DSP code that demands more operations per second eats more current). Whether that remained a kind of benchmark target for all the pedals, I have no idea. The pedals were not really conceived of as intended to depend on battery power for anythng more than a brief period. I take it that at least part of their thinking was that the pedals should be easy to try out in a music store without having to wait for the sales staff to find the right wall-wart, look for an available outlet behind the amps, etc. Once the pedal is in the hands of the owner, the external supply would likely be a permanent fixture on their pedalboard. Remember that another part of the thinking behind the Tone Core series was to provide much of what the modeller series offers in a more convenient and pedal-board friendly package, where a regulated supply would more than likely be part of the rig..
Quote from: vanessa on October 28, 2005, 05:29:27 AM
Has anyone compared this to the Ibanez DE-7? I know that there is more functionality with the echo park but I hear the DE-7 sounds better, is better on batteries and is half the price.
I would never again use a delay pedal with batteries for gigs. The other guitar player in my old band used a DE7, and it was plenty functional for basic delay functions. If that's all you want, check one out. The tap-tempo alone makes the EP a better deal for me. Sound wise, I'm not too sure about any claims of the DE7 sounding *better*. Different for sure. I really like the *tape* setting on the EP, and the DE7 has no comparable setting. Maybe alone in your bedroom, comparing *analog* to *analog* on the two pedals, you could convince yourself the Ibanez sounded *better*, but I haven't done this comparison. Once you try the other features of the EP, a *plain* delay loses it's appeal pretty quickly :icon_wink:
Kerry M
Quote from: vanessa on October 28, 2005, 12:09:06 AM
Also does this thing eat up batteries?
Anyone who relies on batteries in digital stompboxes is either a sadist, or owns stock in Energizer/Duracells' parent company :)
Quote from: bwanasonic on October 28, 2005, 11:56:39 AM
Quote from: vanessa on October 28, 2005, 05:29:27 AM
Has anyone compared this to the Ibanez DE-7? I know that there is more functionality with the echo park but I hear the DE-7 sounds better, is better on batteries and is half the price.
I would never again use a delay pedal with batteries for gigs. The other guitar player in my old band used a DE7, and it was plenty functional for basic delay functions. If that's all you want, check one out. The tap-tempo alone makes the EP a better deal for me. Sound wise, I'm not too sure about any claims of the DE7 sounding *better*. Different for sure. I really like the *tape* setting on the EP, and the DE7 has no comparable setting. Maybe alone in your bedroom, comparing *analog* to *analog* on the two pedals, you could convince yourself the Ibanez sounded *better*, but I haven't done this comparison. Once you try the other features of the EP, a *plain* delay loses it's appeal pretty quickly :icon_wink:
Kerry M
Well I had all those features (and more) in a Line 6 DL-4 and I wound up in the end just using the tape echo effect. The tap feature is really cool if you use delay to make melody (like say the Edge from U2) lines that really depend on bmp. It can be done without. Before the Edge started to use DD's with tap capabilities they used to start those types of songs with the delayed guitar parts so that they could Q the bmp.
I don't use delay that way. I guess I use it in a traditional sense. Slap-back for rhythm stuff, picking, and some leads. And longer delays for lead stuff.
The Ibanez DE-7 does have two settings and one is tape emulation. Echo = Tape, Delay = Digital. I hear the Echo (Tape emu) is amazing. There are a whole crowd of delay freaks over on Guitar Geek and The Gear Page that claim that in that price category the DE-7 wins hands down over the two. There are endless hate threads about the longevity of the Line 6 Echo Park and the lack of customer support. It seems that there may be a problem with circuit (from what I gathered it may be prone to fault do to a power source issue or possibly static electricity). People have complained about getting a very bad hiss from the unit. Some say right out of the box, others say within weeks, months. The other big complaint is battery life. This same problem seems to plague other pedals in the Tone Core series. Most of the bad press comes from people who gave it the thumbs up in a the honey-moon review thread months prior. Please keep me posted, I would like to know if they have addressed this issue with the series.
Quote from: cd on October 28, 2005, 12:11:19 PM
Quote from: vanessa on October 28, 2005, 12:09:06 AM
Also does this thing eat up batteries?
Anyone who relies on batteries in digital stompboxes is either a sadist, or owns stock in Energizer/Duracells' parent company :)
"I only did it the once ..... your honour !! "
M
Quote from: Mark Hammer on October 28, 2005, 09:51:17 AM
QuoteAny schematic for the Echo Park?
  :icon_lol: :icon_lol: :icon_lol: Wouldn't do you any good at either cloning one, understanding one, or modding one.
I have to disagree.
Understanding one? I do think the schematic would be rather insightful in that department. :-\
It would be helpful but you would also need the source code.
The clips of that thing sound real nice, BTW. That and the Liqui Flange and Roto simulator have me drooling.
Doug
I still want to know what sort of DSP is used in there. I know that Line 6 uses both Analog Devices DSPs and Motorola.
From the description of the math being done in 32 bits, it would seem to rule out a Motorola 56K, which would have either 24 or 48 bits of precision (the 56 bit accumulator makes double precision pretty easy on the 56k). However, I doubt that a SHARC would be in the stompboxes, for cost and power reasons. Is it a 16-bit DSP being run in double precision mode? 218x? Blackfin? Another manufacturer?
Sean Costello
Quote from: Peter Snowberg on October 28, 2005, 11:32:50 PM
I have to disagree. Understanding one? I do think the schematic would be rather insightful in that department. :-\
I think one needs to distinguish between what such a schematic would mean to YOU, and would mean to 98% of the other folks who frequent here. This ain't no Fuzz Face, and you ain't no newbie. ;)
Doug,
One of the features of the Liqui-Flange that is, to my mind, NOT adequately flaunted by the posted sound-clips is the envelope-controlled flange. It is an extremely soulful tone, and quite frankly I'd want one of these pedals just because of my love of envelope-controlled filtering. I predicted to Jeorge that the step function would likely show up as part of the opening riff of 50 songs, the way that Cher "robot voice" thing did for a little while. The fact that one can dial in step rate, width (think of it as the "contrast amount" control when in step mode) and resonance, and twiddle the filter switch to get different things is nice, and the fact that it all comes in a stompbox, rather than some post-production trick, means your average minor band can duplicate the sound easily live. We'll see how right I am.
Between one of these and a Flanger Hoax, you can pretty much lock yourself away with some patch cords and pemican and never show up for work or sex for a few years. I haven't seen a Flanger Hoax yet in town, so I haven't tried one, but my sense is that the Liqui-Flange tends to specialize in "punctate" (discrete on-off) sound events, where the Flanger Hoax tends to specialize in longer sweeps and ambiences. I may be wrong there but the assorted modes for short-term, aperiodic sweeps in the Liqui-Flange, and the absence of such controls in the Flanger Hoax tends to suggest that to me.
The bad news this Xmas gift season is that you're going to see a couple of hundred of your dollars trot into the hands of music stores. The good news is that there is enough
non-overlapping territory between these two pedals that one can safely treat them as both worth buying for their special qualities, with neither being better than the other. The person I feel most sorry for here is Dave Fox. For a short while, the Paradox Flanger ruled the roost as the only through-zero flanger in production. Not any more. While the Paradox has a nice feature set and also includes envelope sensitivity, the Liqui-Flange and Flanger Hoax clearly outdistance it in terms of overall feature set. Once again, not having compared the three directly, I can't say anything about tone quality, noise, etc., but in terms of what they can DO, the Paradox is lagging behind. Of course, to its credit, it will still kick the ass of just about any flanger produce between 1985 and this Fall. But there are two new sheriffs in town.
I sell both the EH HOAX and the Foxrox tfz. I don't see much overlap, the Hoax is not great for normal musical sounds and the TZF not great for crazy sounds. If you want to recreate Hendrix/Kravitz etc the TZF is the way to go. If you want to make crazy spounds get the Hoax. Not yet tried the 3rd one.
have fun with all these choices!
Quote from: Mark Hammer on October 29, 2005, 12:41:24 PM
Between one of these and a Flanger Hoax, you can pretty much lock yourself away with some patch cords and pemican and never show up for work or sex for a few years.Â
Yeah, tried that once. Wouldn't recommend it.
I just wanted to say that is nice for you Tom :icon_wink:
Have fun,greetings,Ed
I have a question about the echo park. It sounds like the forum is not concerned that there is an issue with the design of the pedal (my prior post). Is there some sort of easy repair or work around that I don't know about?
If there is not, what would be the forums speculation about why this pedal would have a bad hiss problem after a period of time?
Quote from: Mark Hammer on October 29, 2005, 12:41:24 PM
Between one of these and a Flanger Hoax, you can pretty much lock yourself away with some patch cords and pemican and never show up for work or sex for a few years.
You have no idea how close to reality that is- and it's a scary thought... ;) Especially with 2 amplifiers running it in stereo...
I wanted to buy a tzf so bad when it came out, but it is unaffordable for me right now. I feel kind of bad for Dave Fox. He was the first to implement and produce this on a wide scale- now the dsp folks will come in at a lower price and steal his thunder, in a way. But that's reality in this biz...
I'm still a little edgy about dsp for distortion sounds, amp sounds, etc. I'm probably still a Luddite to some degree there. But for time-based stuff I have no qualms with it, and in some ways I think it may be preferable due to the abundance of features that can be made available. I am amazed by the sounds of the "new reissue" Korg CX-3 that came out in 2000. The drawbar/rotary sounds are scary good and it's all dsp.
I took a class on a TI dsp chip a month ago and I'm convinced dsp is the future in this industry. It's good to see relatively new sounds & features in some of these products now, as opposed to "yet another emulation attempt of a tweed amp".
This is the direction this industry needs to go.
Doug
Quote from: vanessa on October 29, 2005, 03:10:41 PM
I have a question about the echo park. It sounds like the forum is not concerned that there is an issue with the design of the pedal (my prior post). Is there some sort of easy repair or work around that I don't know about?
If there is not, what would be the forums speculation about why this pedal would have a bad hiss problem after a period of time?
AFAIK it's random, hit and miss. Depends on the amp, the power supply, the time of day. I plugged an Echo Park (powered by Line6's own adapter) into a RI Twin Reverb (same as my main amp) and was greeted with a nice PSSSSSSSHHH noise. Plugged it into a Trem-O-Verb and nothing. Went in another day and plugged a different Echo Park (or so the salesman told me) into the same RI Twin Reverb and PSSSSHHH noise. I'm taking other routes to tape style, digital delay....!
Quote from: cd on October 29, 2005, 03:27:59 PM
Quote from: vanessa on October 29, 2005, 03:10:41 PM
I have a question about the echo park. It sounds like the forum is not concerned that there is an issue with the design of the pedal (my prior post). Is there some sort of easy repair or work around that I don't know about?
If there is not, what would be the forums speculation about why this pedal would have a bad hiss problem after a period of time?
AFAIK it's random, hit and miss. Depends on the amp, the power supply, the time of day. I plugged an Echo Park (powered by Line6's own adapter) into a RI Twin Reverb (same as my main amp) and was greeted with a nice PSSSSSSSHHH noise. Plugged it into a Trem-O-Verb and nothing. Went in another day and plugged a different Echo Park (or so the salesman told me) into the same RI Twin Reverb and PSSSSHHH noise. I'm taking other routes to tape style, digital delay....!
Strange, maybe an impedance issue with the different amps? One thing I have read is people claim that in most cases this hiss (or PSSSSSSSHHH noise) developed over a period of time. What most reported was it just happened suddenly. That they had the unit for a few weeks or months and one day it started to hiss. Or it just hissed right out of the box. My thoughts that maybe they were using the wrong power supply or maybe during gigging etc. static electricity destroyed a component.
CD, I would try out that Ibanez DE-7. I've seen them for around $60. Like I said earlier the delay freaks in a number of forums put it at the top of their list for the tape emulation. I’ve seen these people’s posts in the past and know that they are tone connoisseurs, and are over the top into delays. I've also read these same people discuss in detail their own vintage tape units. It would seem a reliable source of information.
I'll repeat once more something I've had to say too many times. The FIRST issue of the pedal apparently did not do enough to keep noise at bay Personally, I never really noticed it, but I received a request to return my module for the upgrade and did so. The software was upgraded and an improved noise gating function was part of that. Since I haven't received my upgrade yet, I can't comment on the extent of that improvement, but I *CAN* say that unless you know for absolute sure you're trying out the V1.1 software release, it might be wise to reserve judgment abut the noise properties. I'm not saying it's perfect as a product, or that the 2nd stab at the software solves everything, or nthat there isn't any sort of undetected "achilles heel" with respect to noise over the long term, but since Line 6 didn't exactly publicize the improvements, it can easily be the case that some on-line criticism in other places is, in fact, critiquing a product which is no longer on the market in that particular form.
Rumours start so easy in this biz. I like to try and quash them when the opportunity arises.
Quote from: Mark Hammer on October 29, 2005, 06:15:08 PM
I'll repeat once more something I've had to say too many times. The FIRST issue of the pedal apparently did not do enough to keep noise at bay Personally, I never really noticed it, but I received a request to return my module for the upgrade and did so. The software was upgraded and an improved noise gating function was part of that. Since I haven't received my upgrade yet, I can't comment on the extent of that improvement, but I *CAN* say that unless you know for absolute sure you're trying out the V1.1 software release, it might be wise to reserve judgment abut the noise properties. I'm not saying it's perfect as a product, or that the 2nd stab at the software solves everything, or nthat there isn't any sort of undetected "achilles heel" with respect to noise over the long term, but since Line 6 didn't exactly publicize the improvements, it can easily be the case that some on-line criticism in other places is, in fact, critiquing a product which is no longer on the market in that particular form.
Rumours start so easy in this biz. I like to try and quash them when the opportunity arises.
Mark of all people I respect your opinion. My thoughts on this noise issue as described are that this sounds like a hardware issue over a software issue. For one software does not degrade over time (not counting Microsoft of course, LOL) it just becomes obsolete. Now it could be that an addition of a software noise gate may help remove inherent hardware noise and that would be cool so long as it did not involve tone sucking.
The problem that CD describes and the one that others describe may be due to an engineering issue with the pedal i.e. choices of chips, lack of anti-static measures, power regulation etc. I don't know. From what I've read Line 6 support does not know or just wants to shuffle it under the table.
I don't want to burst anyone's bubble here. I know when you pay good money for something the last thing you want to hear is that there could be something wrong with it. But this is an engineering forum of sorts and engineering issues should be addressed, and maybe even solved. I'm sure that a few of the Line 6 crew frequent on this site. Maybe (and this is a big maybe) two heads are better than one?
:)
Yeah, sorry if that came off like a smack on the wrists. Wasn't meant to. I'll certainly direct Jeorge's attention to your comments and this thread when I next corrspond with him. There may be something to look into on the design, or it may be one of those things like software bugs where you just can't play this game with that video card on that OS, even though everything else runs glitch-free.
I hope to look into this more when I get the updated module, which I hope will be soon. I respect your forthrightness, V. For now, hopefully we can separate what truly happens under some particular set of circumstances from "I think I heard what I heard someone say they heard someone else heard...on Harmony Central" ;) Not disputing what you hear with your own ears. Just trying to keep different sources of potential noise separated for those who may have NOT heard with their own ears.
You know... I do wonder...in 50 years from now, will or grandkids be talking about how "ya, there was SO much mojo in those old XXXXX DSP chips back in 2005 in them tonecores...I saw one for $500 the other day on e-microsoft-shell-mcdonalds-bay (by circuit city)"
I don't know what to think.... :icon_neutral:
I had the local music store guy order the EP so i could test drive it. I got to see what the hype is about. I would probably use a true bypass looper with it and for sure an isolated power supply souly for itself.
I have seen reviews for the hughes and ketter replex. It seems to be a more promising tape delay modeler. One thing that strikes me is that it cost around 5 to 6 hundred dollars. I have been on the hunt for a tape modeler for sometime which is affordable.
On the Smashing Pumpkins album meloncollie and the infanit saddness disc 2 there is a song called "Thru The Eyes of Ruby". At the very end of the track they do this little lead part using some sort of echo unit. THAT IS WHAT I LONG FOR!
Also on Zepplin III the track "That's the Way". I know ol Jim Page is using a slide but there is something there that seems much more. I figure that is definately a tape echo unit.
ECHO RULES, Garrock