Running delay before the amp and after the amp...video by Leon Todd

  • Thread starter Thread starter harddriver
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I like a single, barely audible slap if I'm not recording, like I'm in a big room. I haven't had good luck finding pedals that work in front for that though. I've found an El Cap to work, but I'm using literally a fraction of what the pedal is supposed to do. Barely cracked on level.
 
I’ve got a Memory Lane jr in the PS2 loop and a DM-2 in front.
But I use just enough to hear my tone get “bigger” or “wider” not sure how to say it…

It’s barely there, you aren’t hearing repeats.
 
When I was heavy into learning Van Halen stuff note for note, I always complained that Ain't Talking 'Bout Love never sounded right for some reason... That's when I discovered pete thorn's video where he mentions that there's a slight echo in front of the amp that glues the riff altogether.

 
Greazygeo said:
Welcome to about a million years ago…..nothing worse that a dee-lay in front of distortion.
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I hear ya but people did do it for a long time. In the overhead mic clips of VH1 of Jamies Cryin' you hear the echoplexes echos in the mics which verifies Ed was running the echoplexes live in the studio to record just as he did live in addition to whatever delay was added in post.

I just found the video interesting since he could move the delay in real time with the FM3 to illustrate the points. Leon still didn't dial it the best with a lower mix level when he ran it up front.
 
harddriver said:
I hear ya but people did do it for a long time. In the overhead mic clips of VH1 of Jamies Cryin' you hear the echoplexes echos in the mics which verifies Ed was running the echoplexes live in the studio to record just as he did live in addition to whatever delay was added in post.

I just found the video interesting since he could move the delay in real time with the FM3 to illustrate the points. Leon still didn't dial it the best with a lower mix level when he ran it up front.
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It’s also often/usually used differently. More as an effect that is turned ON then OFF pretty quickly just to make something sound huge or just for effect. At least that’s the way I use it. Like the chorus in On Fire from VH1.

If you use it more like The Edge in U2 then that’s cool too and it sounds different than if placed after the small amount of dirt he typically uses. But like DanT said, that sounds dated (or boomery) or in my mind very P&W and that’s not my thing at all.

Using delay as an always ON ambient delay in front of a high gain amp would be stupid af but LT obv wasn’t talking about that.
 
harddriver said:
I hear ya but people did do it for a long time. In the overhead mic clips of VH1 of Jamies Cryin' you hear the echoplexes echos in the mics which verifies Ed was running the echoplexes live in the studio to record just as he did live in addition to whatever delay was added in post.

I just found the video interesting since he could move the delay in real time with the FM3 to illustrate the points. Leon still didn't dial it the best with a lower mix level when he ran it up front.
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Mostly because that was the only option there was. As you know amps back then didn’t have fx loops and really wasn’t much in the way of effects anyway. I don’t think Ed kept the echoplexs once he started slaving etc. That is what led me to slaving back in the day, trying to run delay with my Marshall. That was frustrating as heck.
With the echoplex, most of the guys I know that used them, they either just used them as preamps to drive the Marshalls harder or ran them into clean amps.
In front of distortion it sucks. Unless you are just playing and stopping to let the repeat be heard then it could work. Screw that though.
 
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