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Gone Fission wrote:

jwar wrote:Way better than those pretentious dicks at Eventide.

Any stories beyond the issues on the Max-ed H9? (I've had limited but good experience with their technical support, so I can't complain.)

I made a whole thread about it. I'll have to find it. I eventually got everything kind of worked out, but Eventide are a bunch of dicks basically.

Nope

rfurtkamp wrote:When half the actual units are available for less than the price of the feature-limited (because it will be, because...consider the maker) "replica"- I don't understand the point.

Half the weird 80s rack delays are more than just their delay - it's the preamp and the how it works and the LFO and other oddities On the later ones, there's control and depth past a few knobs and settings that are the reason to own them.

Big yawn, but I was less than floored by the ElCap (which suffers from "have you heard a tape echo" syndrome in modelling that seems to think they all have wow and flutter to a point where the tape would eat itself during the first pass.....

Yep. Big thumbs up for that final point
I feel the same way w/r/t DMM.

I haven't played a Strymon pedal within the context of my rigs. Online+store demos suggest they aren't for me. Credit to Strymon for cherry-picking a few interesting sonic characteristics to serve as cornerstones in their products, packaging them for convenient consumption; but I, as well feel they're too aggressively implemented to the point of being counterproductive, failing to capture key nuances that result from the proprietary analog components, and how they interact in the real thing. Pres, converters and filter chips...even the wiring and switches...none of which are passive when it comes to analog circuitry for audio applications. Strymon pedals, too have their own sound in spite of the fanboys swearing they're completely transparent when buffered or true-bypassed. It's there, and I am not a fan.

I still see users who are convinced and insistent they can "nail the DMM" with their Timeline or El Cap. Wrong.
Either they've never sat down with the real thing or compare it to the smd XO series version of "The DMM" which itself suffers from "Have you heard a real DMM"
While it's possible to create an approximate sonic signature through similar eq curve, the nonlinear harmonic content, artifacts, decay slope and content of the repeats does not necessarily translate.
Neither does the symbiotic relationship between repeats decay during progressive oscillation, and how it's a somewhat chaotic lfo you can shape and dare I say...harness with knob tweaks. There isn't even another analog delay on the market to convincingly mimic its behavior. But admittedly, I'm kind of a DMM fanboy...so

rustywire wrote:I still see users who are convinced and insistent they can "nail the DMM" with their Timeline or El Cap.

I couldn't nail anything other than maybe a charging three-legged badger with my Timeline; the only point of that thing at the time was to eliminate a tangle of multiple delays...the old multi fx trap. But I was never for a moment confused about the quality of the "emulations." Mostly used the digital delay "engine" with various adjustments. Was not a disaster/was not high inspirationz timez. Today I prefer to mesmerize any invading mustelidae with a perplexing array of stand-alone time warping devices. Still housing the Timeline on the off chance I suffer a complete loss of musical self-determination. Should sell, though. Lazy ass Dando.

I've never looked at Strymon like a clone company
it's true that you can't get a DMM or a Boss DM2 out of it, but that's not the intent for me

the question is whether or not it sounds good, and to me, the timeline absolutely does sound good in a way that other analog and digital delays do not
the timbre of it's tape and analog machines are distinct

Wow--I just wrote and then snipped a looooooong blogpost/snorefest about why I don't hate Strymonz/don't want Strymonz.

You're welcome.

[oops, snip time again] high-five my hosannas to His Noodly Appendage for dat, and go back to my Particle fuqqery. Or maybe I should monetize it while it's still worth some shekels.

Cue crickets.

Strymon--it's for internet bloviation....

The problem is that the majority of analog and digital delays the Strymon get compared to are price point objects - limited control boxes that are made for a combination of low-end pricing (PT2399 or the vast majority of digital stompboxes). There aren't many high-end or even mid-range devices.

I did a Timebender / El Cap shootout. The prices at the time were roughly equivalent (TB was still $259, long before the discounting began). It won even if I compared just straight delay modes. And the Timebender's tape modes didn't sound like a rutting buffalo fucking a dead fan belt.

rfurtkamp wrote: sound like a rutting buffalo fucking a dead fan belt.

Wait, it sounds like me jogging?

Awesome way to describe something. Best line I have heard in a long while.

Strokes for folks guyzzz... Why can't people just like what they like without all the "your stupid and deaf for liking that instead of xxx" threads all the time??? We've been circle jerking about dmms and time benders and racks for years now... It's ok for ILF to like different stuff and still be ILF...

Because ILF does this, like every other gear subculture group I've ever witnessed in twenty years of forums?

The counter to rabid-fanboi is a little vitriol, and the truth lies somewhere in between.

rfurtkamp wrote:the truth lies somewhere in between.

...between, tween, ween, een...



your wisdom and your vitriol

Rabid Fanboism is prolly the 1% of ILF...

I think the BILF board breakdowns would beg to differ, sir.

About maybe 40 boards out of 8000 makes them the .5%...

Going with the most prolific posts and posters, I think that's fair.

Lurkers are what they are anywhere. Can't put them in any particular category, because...they're lurking!