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azraik « From Quiet to Chaotic »
Published on 04/04/15 at 19:11
Value For Money :
Correct
Audience:
Anyone
A Brief History of Bucket Brigade
Delay effects have been produced by different means for over 50 years, from physical tape manipulation to "delay in a box" units of all shapes and sizes. Short, gritty slapback delays can be heard throughout country tunes of the past few decades. Long, oscillating delays can be found amongst the likes of rock and experimental genres. Even contemporary pop musicians use delays to create bigger, wider sounding vocal effects.
Now with so many delay effects and emulators widely available to musicians and audio engineers, even through digital software, it's hard to imagine a need for physical delays in the future. Despite the vast changes in technology over the years, there is still a market for delay units among guitarists and other musicians who use electronic instruments--particularly in the area of live performance. While there are a variety of options to choose from, musicians who use delays generally want two things: versatility and good tone.
EKKO…..Ekko….ekko
The Malekko Ekko 616 analog delay fits the bill for both versatility and good tone, and has been a popular delay pedal since it was first released in 2009. The Ekko 616 features a 100% analog signal path and a selection of simple controls with powerful capabilities:
- Delay Time: fully adjustable from 0 to 650 milliseconds
- Mix: blends between dry signal and roughly 75% wet signal (the dry signal is never completely lost)
- Feedback: controls the repeats from none to infinite (infinite repeats will eventually create a chaotic oscillation effect)
In addition to these basic controls there is an optional modulation mode that sounds reminiscent of classic tape delays, and the modulation rate and mix may be separately controlled as well. Finally, there is a switch that selects between true bypass and buffered modes. While I understand the function of these two modes, the only major difference I have noticed between the two is that the true bypass setting sounds 'warmer' and the buffered setting gives the dry signal a clearer, brighter tone. I tend to leave my Ekko 616 on the buffered mode, because it keeps the overall volume of my signal at a consistent level.
The Ekko 616 is capable of producing everything from subtle slapback sounds to infinitesimal repeats that carry your instrument into unknown sonic territory. Even when the feedback repeats are turned up all the way and the signal begins oscillating, the sound can continue to be manipulated by the delay time and modulation settings. This kind of flexibility can momentarily transform the pedal into a musical instrument all its own, leading to very experimental sounds in the hands of the musician.
Quirks
There are many great qualities to the Malekko Ekko 616, but it also comes with its own set of quirks.
Like many basic stompboxes, the Ekko 616 requires power from a 9V adaptor or 9V battery (although I prefer to use an adaptor). One thing to note if you plan to use a 9V adaptor, though, is that the adapter plug is located on the right side of the pedal, next to the 1/4 inch input of the pedal. This is the only pedal I've ever used or seen with this design element, but I have not found it to be a major issue when I have assembled pedal boards in the past.
Another thing to be aware of is that the pedal also includes an internal trim potentiometer that adjusts the gain for the buffered mode of the pedal, and the 'stock' setting on this trim pot may not be equal to your guitar signal. In fact, when I first turned on my Ekko 616, it boosted my guitar signal by about 3 or 4 dB. So before you slap this pedal on your board and take it to your first gig, you may want to screw off the back plate and adjust the trim pot as needed to fit your personal signal chain.
Bottom-Line
For what it's worth, the Malekko Ekko 616 is a wonderful boutique pedal available at a very reasonable price. There are not many delays that offer this degree of quality and versatility for $150 or less.
Delay effects have been produced by different means for over 50 years, from physical tape manipulation to "delay in a box" units of all shapes and sizes. Short, gritty slapback delays can be heard throughout country tunes of the past few decades. Long, oscillating delays can be found amongst the likes of rock and experimental genres. Even contemporary pop musicians use delays to create bigger, wider sounding vocal effects.
Now with so many delay effects and emulators widely available to musicians and audio engineers, even through digital software, it's hard to imagine a need for physical delays in the future. Despite the vast changes in technology over the years, there is still a market for delay units among guitarists and other musicians who use electronic instruments--particularly in the area of live performance. While there are a variety of options to choose from, musicians who use delays generally want two things: versatility and good tone.
EKKO…..Ekko….ekko
The Malekko Ekko 616 analog delay fits the bill for both versatility and good tone, and has been a popular delay pedal since it was first released in 2009. The Ekko 616 features a 100% analog signal path and a selection of simple controls with powerful capabilities:
- Delay Time: fully adjustable from 0 to 650 milliseconds
- Mix: blends between dry signal and roughly 75% wet signal (the dry signal is never completely lost)
- Feedback: controls the repeats from none to infinite (infinite repeats will eventually create a chaotic oscillation effect)
In addition to these basic controls there is an optional modulation mode that sounds reminiscent of classic tape delays, and the modulation rate and mix may be separately controlled as well. Finally, there is a switch that selects between true bypass and buffered modes. While I understand the function of these two modes, the only major difference I have noticed between the two is that the true bypass setting sounds 'warmer' and the buffered setting gives the dry signal a clearer, brighter tone. I tend to leave my Ekko 616 on the buffered mode, because it keeps the overall volume of my signal at a consistent level.
The Ekko 616 is capable of producing everything from subtle slapback sounds to infinitesimal repeats that carry your instrument into unknown sonic territory. Even when the feedback repeats are turned up all the way and the signal begins oscillating, the sound can continue to be manipulated by the delay time and modulation settings. This kind of flexibility can momentarily transform the pedal into a musical instrument all its own, leading to very experimental sounds in the hands of the musician.
Quirks
There are many great qualities to the Malekko Ekko 616, but it also comes with its own set of quirks.
Like many basic stompboxes, the Ekko 616 requires power from a 9V adaptor or 9V battery (although I prefer to use an adaptor). One thing to note if you plan to use a 9V adaptor, though, is that the adapter plug is located on the right side of the pedal, next to the 1/4 inch input of the pedal. This is the only pedal I've ever used or seen with this design element, but I have not found it to be a major issue when I have assembled pedal boards in the past.
Another thing to be aware of is that the pedal also includes an internal trim potentiometer that adjusts the gain for the buffered mode of the pedal, and the 'stock' setting on this trim pot may not be equal to your guitar signal. In fact, when I first turned on my Ekko 616, it boosted my guitar signal by about 3 or 4 dB. So before you slap this pedal on your board and take it to your first gig, you may want to screw off the back plate and adjust the trim pot as needed to fit your personal signal chain.
Bottom-Line
For what it's worth, the Malekko Ekko 616 is a wonderful boutique pedal available at a very reasonable price. There are not many delays that offer this degree of quality and versatility for $150 or less.