[Harp-L] RE: Analog Delays and trolls

["Jonathan R. Ross" <jross38@xxxxxxxxxxx>]

I was checking out the harp-l archives of the past few months and
noticed a discussion of analog delays.  Being a connoisseur of analog
delay I thought I'd add my two cents.  First, the Ibanez and Boss delays
from the 80's are quite good.  Nice sound with the standard features and
will do the job well.  They are in much the same range as the
Electro-Harmonix Memory-Man, which I prefer (a few more options,
especially the deluxe model where the chorus helps fill out the sound).
However, when it comes to ADs these are the basic bread-and-butter
units.  They are the equivalent of a Yamaha or Kawai piano--well made,
good sound, relatively inexpensive and a lot of people use them and they
do the job needed.  The same is true of the old Maxon pedals (I've not
tried their new one).  However, there is an entirely different world of
analog delay out there, one which is equivalent to the Bosendorfers,
Bechsteins and Mason&Hamlins of the piano world.

Primarily these higher-end units are found in the form of analog
synthesizer modules, though they can essentially stand-alone outside of
that world if so desired.  There are four which stand out from the pack
beyond all others.  I will list them in order of personal preference,
overall sound quality and musicality (a somewhat esoteric standard, but
it makes sense when you use them).

First there is the Blacet Time Machine:
http://www.blacet.com/TM2050.html  Don't worry too much about the
discontinuation--it's been gone and back more than once.  This is not
your average analog delay.  It is nigh-on uncontrollable and in many
ways is more similar to a flanger than an AD.  Indeed, sonically it cuts
and compresses your sounds much more than any other AD I've used.
However, for strange, weird or simply nasty delay effects this is the
unit to use.  It will mangle, warp and mishandle your sound in ways
which are unpredictable and unimaginable.  With great effort it can be
tamed into standard usage, but when you do that it is essentially no
better than the standard blue-collar units (though with a more
characteristic sound than those).

Second, there is the ModCan Super Delay:
http://www.modcan.com/modhtml/modules.html

This is perhaps the longest time analog delay ever made.  It allows for
many modulation paths and especially fun is processing the feedback (a
common effect for all those in the upper tier).  Playing with LFOs,
Envelope Followers and the like allows levels of weirdness akin to the
Time Machine, though with a much more refined feel and sound.  Sonically
this is a good unit, with a rich sound augmented by the filter on the
delay which helps rein the sound into the useable range.  However, the
most striking feature is simply the length of the delay--it goes to
territory not seen before in an AD.

Third is the legendary Serge Wilson:
http://www.serge-fans.com/wiz_audiomod.html  For many years this was the
only analog delay that allowed complex control processing and in large
part because of that it became a true legend.  Songs have been written
both about and for it.  Moreover, besides the versatility of this delay,
it is also very musical.  The completely discrete circuitry along with
the ability to have either a filtered or an unfiltered sound is a huge
part of what makes it so unique.  Moreover, the effect has a very
natural response and feel--it is easy to program and will do essentially
anything you ask of it with ease.

Finally, there is the MoogerFooger MF-104:
http://www.moogmusic.com/detail.php?main_product_id=39  While it hides
as a standalone pedal unit, it has essentially all the modular
capabilities and features of the other three ADs in this category.
However, what makes it the best is the combination of the sound quality
and the sheer musicality of the unit.  First, the gain section of the
pedal is wonderful, able to really warm up and enrich any sound put into
it.  In many ways this is an excellent pre-amplifier on its own (though
harmonica mic signals are usually too weak even for the maximum gain of
a unit such as this), and the distortion available is quite warm,
unusual for a solid-state design.  This sets the stage for the delay
effect, which has perhaps the smoothest and most beautiful sound of any
delay ever made (including tape-echos).  This is a Moog design, and it
shows: the bass response is powerful yet clear without being crisp and
the metallic sounds of the resonating feedback never becomes overly
harsh while still being powerful enough to destroy speakers if you want
to.  The filtering and the processing of the sound signal and the delay
signal is simply unsurpassed for sound quality even in this high range.
All that leads to a musicality which is unmatched in the world of delay.
This is not simply an "effect" but rather is a true and complete musical
instrument in the same way the sound source is.  You do not use the
MF-104, rather you play it.  This cannot really be explained but is
immediately noticeable if given any amount of time to seriously work it
out (an hour or two--or more, because it is very hard to stop playing
once you've started, like any good musical instrument).  

These are the true stand-outs of analog delay.  Guitarists talk about
their Ibanez and Boss pedals, and they are quite good, but there is no
comparison.  With a few exceptions, most guitarists just want something
that will "color" their sound.  They want an "effect" and view it that
way.  Thus most pedals have relatively limited controls and few options.
These are the opposite, and they reward use as equal partners in the
music making (or even superior partners in the case of the Moog--it's
more musical beast than most anything that goes into it!).  These are
expensive, and reward getting other gear to bring out their full
potential (mixers, envelope generators/followers, LFOs, etc...) but they
are more than worth it.  If all you want is a basic slap-back or echo,
than the lesser pedals will do it.  But if you want something that shows
you new possibilities these are what you need.  And if you want the
absolute best, an instrument which improves your music in every regard
then the MF-104 is the answer.

Just thought I'd drop a line.

I wrote this a while ago.  A sad post-lude is that Bob Moog passed away
this week.  He was one of the great instrument builders in history,
always keeping in mind the music and the musicians rather than the
technical or business side of things.  As a lover of the esoteric
theremin, I'm sure he would fully understand our obsession with our
strange little mouth-blown beastie.




 oo    JR "Bulldogge" Ross
()()   & Snuffy, too:)
`--'