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audiopat.krz « A little nugget »
Published on 08/23/11 at 03:15Delay with tap tempo to its purely analog and digital with a few transplants ideal to set the machine (rhythmic subdivisions and several controls via an expression pedal not included). For me, the perfect symbiosis between analog and digital: this pedal retains only the best of two worlds.
In addition to the controls characteristics (mix, delay time and number of repetitions), EHX has a control to "recover" the signal when the mix is too advanced and also two buttons for accessing the modulation signal.
In terms of connectivity, EHX is an opportunity lightning (to my knowledge, no competitor can offer this): an integrated loop for color repetition with any effect.
A note: the compact size of the box (metal) always nice.
UTILIZATION
The manual is in English but I guess most of us understand.
The specific points are:
- Management of the switch via tap tempo or via the delay knob
- Access to low attenuation.
We quickly found her without a problem and we also understand the need for the GAIN button (which seemed redundant a priori but is ultimately necessary to offset the loss of the original signal when increasing the volume of repeats, a phenomenon inherent in analog technology).
SOUND QUALITY
For my test I used a Peavey Classic 30 with a Fender American Standard Strato (the deadline is plugged into the effects loop).
No breath is generated (in contrast to what has been said), the pedal is quiet and I have noticed a slight loss in low frequencies, which is quite normal for this kind of delay) .
Important Note: The buttons BLEND and GAIN are complementary: they interact. If "wet" signal, it is necessary to offset the gain because the input signal will inevitably decline. This setting is important if we want the volume of base (no effect) corresponds to the volume with the effect. Do not panic if: increase the gain does not lead necessarily an addition of saturation. This control allows a first time to make up a loss and then, if needed, to provide a boost.
The delay is simply sumptuous. Like any analog delay, short repeats are clear and darken when they are lengthening. Means clear that they are alive and have a true grain. It is a vibrant dialogue that moves suddenly and may end in total chaos if we have a heavy hand on the FEEDBACK.
I tried the option of reducing low but I have not yet found the utility, in any case, it works.
My surprise was the built-in modulation pedal: you must know that the DEPTH knob is notched in the middle, which allows you to easily and safely placed on the "off" this option but once triggered (sparingly) we can do wonders (clearly approaching the sounds of the MXR CARBON COPY with a touch less heat). The curve of the modulation to the right can only be used if one seeks an end "robotic" extreme, in contrast, the curve to the left is more interesting. With a sparse setting, it achieves a harmonious sound drastically. I even managed to achieve an effect entirely credible by pushing RATE. In summary, this option modulation of the signal processed is more than a gimmick: you can go from a subtle embellishment to a pronounced effect that may stick in some context.
Finally, of course I tried several combinations with the loop: I've pasted an example of MXR PHASE 90 and it works immediately. This connection opens doors to all experimenters.
I do not pedal, so no comment on this option.
OVERALL OPINION
I use it for two weeks and each that I started, I vibrate: it is rare enough to be clarified.
The price is unbelievable for this quality and these opportunities. I recommend it for all lovers of sounds warm and alive with a minimum requirement in terms of settings.
Before that, I tested the popular DL-4 for Line 6 that I sold after a few weeks. My pedalboard is analog and I was disappointed with this pedal that yet so successful. The DL-4's still a range of simulations, it reacts sterile for my taste, no character (I'll be crucified for this but so be it !!!). In addition, and no one can contradict this, tap the tempo of the DL-4 is only available when it is switched on, which is a hell. This problem does not appear at EHX.
In addition to the controls characteristics (mix, delay time and number of repetitions), EHX has a control to "recover" the signal when the mix is too advanced and also two buttons for accessing the modulation signal.
In terms of connectivity, EHX is an opportunity lightning (to my knowledge, no competitor can offer this): an integrated loop for color repetition with any effect.
A note: the compact size of the box (metal) always nice.
UTILIZATION
The manual is in English but I guess most of us understand.
The specific points are:
- Management of the switch via tap tempo or via the delay knob
- Access to low attenuation.
We quickly found her without a problem and we also understand the need for the GAIN button (which seemed redundant a priori but is ultimately necessary to offset the loss of the original signal when increasing the volume of repeats, a phenomenon inherent in analog technology).
SOUND QUALITY
For my test I used a Peavey Classic 30 with a Fender American Standard Strato (the deadline is plugged into the effects loop).
No breath is generated (in contrast to what has been said), the pedal is quiet and I have noticed a slight loss in low frequencies, which is quite normal for this kind of delay) .
Important Note: The buttons BLEND and GAIN are complementary: they interact. If "wet" signal, it is necessary to offset the gain because the input signal will inevitably decline. This setting is important if we want the volume of base (no effect) corresponds to the volume with the effect. Do not panic if: increase the gain does not lead necessarily an addition of saturation. This control allows a first time to make up a loss and then, if needed, to provide a boost.
The delay is simply sumptuous. Like any analog delay, short repeats are clear and darken when they are lengthening. Means clear that they are alive and have a true grain. It is a vibrant dialogue that moves suddenly and may end in total chaos if we have a heavy hand on the FEEDBACK.
I tried the option of reducing low but I have not yet found the utility, in any case, it works.
My surprise was the built-in modulation pedal: you must know that the DEPTH knob is notched in the middle, which allows you to easily and safely placed on the "off" this option but once triggered (sparingly) we can do wonders (clearly approaching the sounds of the MXR CARBON COPY with a touch less heat). The curve of the modulation to the right can only be used if one seeks an end "robotic" extreme, in contrast, the curve to the left is more interesting. With a sparse setting, it achieves a harmonious sound drastically. I even managed to achieve an effect entirely credible by pushing RATE. In summary, this option modulation of the signal processed is more than a gimmick: you can go from a subtle embellishment to a pronounced effect that may stick in some context.
Finally, of course I tried several combinations with the loop: I've pasted an example of MXR PHASE 90 and it works immediately. This connection opens doors to all experimenters.
I do not pedal, so no comment on this option.
OVERALL OPINION
I use it for two weeks and each that I started, I vibrate: it is rare enough to be clarified.
The price is unbelievable for this quality and these opportunities. I recommend it for all lovers of sounds warm and alive with a minimum requirement in terms of settings.
Before that, I tested the popular DL-4 for Line 6 that I sold after a few weeks. My pedalboard is analog and I was disappointed with this pedal that yet so successful. The DL-4's still a range of simulations, it reacts sterile for my taste, no character (I'll be crucified for this but so be it !!!). In addition, and no one can contradict this, tap the tempo of the DL-4 is only available when it is switched on, which is a hell. This problem does not appear at EHX.