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Reviews (4)
12 November 2015
One of the Best Delays Available
This delay is definitely my favorite on the market. It gives you the long delay times of a digital delay, with the warm organic sound of an analog delay.
The tap tempo, and the multi-tap switches on the front make this one of the easiest to use, and the modulation delay section sounds fantastic, if you use restraint with your settings.
About the only downside to this pedal is the white noise it creates. This definitely limits where you can set the blend control. I know that all analog delays and reverbs have a considerable amount of hiss, and this pedal is definitely no exception, but you can get it to acceptable levels with careful tweaking of the knobs, and the EQ on your amp.
A skillfully adjusted, high quality noise gate pedal after the delay may be the ultimate answer. I will try that soon, and see if I can set that to eliminate the noise, but still leave nearly all of the echoes at the trailing end.
26 January 2021
A hard to find gem
Wonderful realistic burst of green cypress, followed by powdery spices...and it's a long lasting masterpiece.
12 November 2015
When Only the Best Will Do...
If an analog envelope filter is important to you and your playing style, accept no substitute, because this one will surpass anything else on the market, and do many things the others can't. This filter is THE one.
First, imagine you have two Mu-tron III's sitting side by side...but with more controls, and an adjustable LFO on each. Now wire them in a way that allows them to talk to each other, and allows you to switch between running them in series, or in parallel, and running them in phase with one another or out of phase. Hook them both to the same input section, and install an effects loop between the input section and the filters themselves. Then run their output through a mixer section that allows any blend of filter1, filter2, or your unmolested signal...which allows for incredibly smooth subtle effects, to full-on synth, sci-fi, saturation.
Add control voltage inputs for each filter, which give the ability to control each filter separately or together with one or two expression pedals, or even an external trigger source, such as another instrument, drum machine, or step sequencer. And, include control voltage outputs, so this unit can control the expression pedal inputs of other pedals, to sync them with the envelope it's creating. Allow true bypass of the effects loop, or of the entire unit, controllable by a 2 button foot switch, and you have almost got it.
Now, besides the main effect output for the unit, add two more outputs...one for each of the separate filters directly, so you can literally use them as two separate Mu-tron's...and in a nut shell, that's the Electro-Harmonix Bi-filter.
It was a stroke of genius to make the decision to go with a rack mountable form factor. This removed constraints that pedals typically are bound to, such as size (and therefore the number of knobs, controls, etc.) and power requirements (pedals typically need to run on 9v batteries). With very few space restrictions, and as big of a power supply as they wanted to utilize, Electro-Harmonix was able to achieve the smoothest, most buttery sound, and its stable as a rock...no wavering that you can sometimes get in a weaker envelope filter as it's slowly closing.
No other envelope filter on the planet can touch this...not even the venerable Lovetone Meatball, or original Mu-tron III. I've owned them all, so I can attest from first hand knowledge that this one will make you sell the rest of them. When it comes to analog envelope filters, this one will separate the men from the boys.