on what switch you hold
down, when you power
up, and others. However,
I didn’t have an external
tap tempo switch or
expression pedal to test
this with. So I won’t be
mentioning expression
features past this point.
Plugging in my trusty
humbucker-equipped
Strat and starting with all
knobs at 12 o’clock, first
thing I wanted to test was
the Modulation. The MXR
website advertises it as
“chorus-y,” but I found it
closer to a vibrato effect
personally. Lots of warble,
lots of altered pitch.
Upping the Mix when
playing with this feature
was a lot of fun, because
to me it always makes
my guitar sound like it’s
drunk.
power of the delay length.
9:00 got me a nice eerie
slapback, perfect for
country or rockabilly (or
the riff to “Rock Lobster,”
which I played). 12:00 got
the great staccato sounds
one might associate with
a lot of Pink Floyd tunes.
Dimed, I quickly saw even
the simplest notes were
going off without me. The
tap tempo and subdivision
settings added a whole
new dimension, although
one that’s hard to describe
in writing. All I can say is
if you try this pedal play
around and see what you
like. delay is cranking the
Regen and getting that
gorgeous overloaded
feedback. Messing with
the Delay knob helped
me tune the pitch of the
feedback with surprising
accuracy, and the sonic
chaos was a blast to play
with. Oh if only I had an
expression pedal to mess
with this standing up. Ah,
c’est la vie.
We all know though that
the real fun of any analog None.
W H AT W E LI K E
A natural expansion on an
already great pedal with
tons of new features and
great tone.
C O N C ER N S
Enough of that though. It
was time to test out the
delay itself. As someone
who grew up using digital
delays mostly, the more
subtle sound of an analog
delay takes some getting
used to. I decided to
point the Mix and Regen
at 12:00 and test the
ToneRepor t .com 57