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Worst digital delay pedals. Effects Pedals, Units & Accessories
Old 1 week ago
  #61
Lives for gear
 
noah330's Avatar
I have a PCM-81 and 91 as well as an old Chandler Digital Delay rack. I use an old Boss DM-2 I paid like $30 for 20+ years ago on my bored.

That being said, I like the CDD better than my mint RE-201 tape echo for a lot of things and I have one of those new HX L6 boxes that I'm using for everything now.

These days, the old reliable stuff that flew under the radar for and was on my bored for years (Klon, DM-2, PN-2, etc...) is worth so much to the bedroom & open mic bloozers that I don't like to take them around. I have replicated my bored with the L6HX and it's fine for live stuff.
Old 1 week ago
  #62
Quote:
Originally Posted by iLCacciLLo View Post
Personally I don't like TC delays,
I dislike the sound of Nova Delay, Flashback or Alter Ego.

Alter Ego tries to emulate analog and tape delays, but every preset has too much modulation that seems that in every Delay theres a TC Chorus connected. It seems every preset has the same lush chorus character, it's horrible.


The Line 6 DL4 is a great sounding unit, The Echoplex, Deluxe Memory Man and DM-2 emulation sound really good.
Each model has it's own character in terms of grit, distortion, wow and flutter and frequency response degradation, and quite similar to the character of the original units.
It's quite versatile, and sorry to you all Line6 haters, I can agree that most Line 6 emulations are not good, but they really done their job well with the DL4, it sounds great and thats the main reason it's already a classic pedal and quite popular on pedalboards around the globe.
The same goes to the Echo Pro rack version and the Echo Farm plugin, great sounding.
The plugin was even re-introduced this year after a so many requests of users.

Congratulations Line 6 for the development of the DL4 delay pedal
I hate the DL4. Really dumb, clumsy user interface, horrible "space echo" emulation, etc, etc. And that patented Line 6 one dimensional tone.

Ugh!
Old 1 week ago
  #63
Gear Nut
 

Quote:
Originally Posted by John Eppstein View Post
I hate the DL4. Really dumb, clumsy user interface, horrible "space echo" emulation, etc, etc. And that patented Line 6 one dimensional tone.

Ugh!
The DL4 sounds great, and it's a favorite amongst a lot of people.

I have 5 tape delays (Copicat MKIV, Roland Chorus Echo RE-501, Fulltone Tube tape Echo (Echoplex EP-2), Binson Echorec A602TR and Echolette E51), I also have some analog delays, the Boss DM-2, Deluxe Memory Man, Yamaha E1010.

On the digital Effects I have Strymon El Capistan, Boss DD-2, Boss DD-5, Catalinbread Echorec, Boss RE20

The only thing I can say is that the DL4 holds pretty well sound-wise to any of the best pedals and tape delays of the bunch, and even though I have a lot of options I think it sound so good I use it regularly.

The user interface has 1 rotary switch to select the models, one knob for delay time, one for repeats/feedback and another knob for Mix, pretty straightforward like any other delay pedal, a child could use it.
The other 2 knobs tweek and tweez are model dependent.
So saying that the user interface is "Dumb" it's pretty ridiculous to say the least, and it's not true.

Also if you had some "one dimensional tone" whatever that means to you, it was coming for your playing or your rig, because the delays in the DL4 are far from one dimensional.

You seem to have a personal problem with the Line 6 brand, and it's really blurring your opinions and vision on a good product of a brand you personally don't like.

I will rest my case here and advice everyone that reads this thread not to trust your opinions about the DL4 pedal, they're unfair and biased

Last edited by iLCacciLLo; 1 week ago at 03:18 AM..
Old 1 week ago
  #64
Gear Head
 

Quote:
Originally Posted by iLCacciLLo View Post
The DL4 sounds great, and it's a favorite amongst...

...I will rest my case here and advice everyone that reads this thread not to trust your opinions about the DL4 pedal, they're unfair and biased
Have to agree with you here. There is nothing clumsy about the DL4 user interface. All the common delay settings have their own dedicated knobs. As for the ‘tweek’ and ‘tweez’ controls, whilst I always disliked the names for them, I can’t think of a simpler way to control model-specific variables. The way Strymon do it is much more involved.

I used one extensively for around 5 years and the sound of the models is also decent. What it offered for the price was also unrivalled for many years - which I think is where some of its noterity comes from, although it is by no means bad sounding.

Saying that, of the three I’ve used a lot I’d put my opinion of the sound in this order Timeline > Flashback X4 > DL4.
Old 1 week ago
  #65
Quote:
Originally Posted by iLCacciLLo View Post
The DL4 sounds great, and it's a favorite amongst a lot of people.

I have 5 tape delays (Copicat MKIV, Roland Chorus Echo RE-501, Fulltone Tube tape Echo (Echoplex EP-2), Binson Echorec A602TR and Echolette E51), I also have some analog delays, the Boss DM-2, Deluxe Memory Man, Yamaha E1010.

On the digital Effects I have Strymon El Capistan, Boss DD-2, Boss DD-5, Catalinbread Echorec, Boss RE20

The only thing I can say is that the DL4 holds pretty well sound-wise to any of the best pedals and tape delays of the bunch, and even though I have a lot of options I think it sound so good I use it regularly.

The user interface has 1 rotary switch to select the models, one knob for delay time, one for repeats/feedback and another knob for Mix, pretty straightforward like any other delay pedal, a child could use it.
The other 2 knobs tweek and tweez are model dependent.
So saying that the user interface is "Dumb" it's pretty ridiculous to say the least, and it's not true.

Also if you had some "one dimensional tone" whatever that means to you, it was coming for your playing or your rig, because the delays in the DL4 are far from one dimensional.

You seem to have a personal problem with the Line 6 brand, and it's really blurring your opinions and vision on a good product of a brand you personally don't like.

I will rest my case here and advice everyone that reads this thread not to trust your opinions about the DL4 pedal, they're unfair and biased
I had a DL4 for over 2 years. I tried really hard to like it but I don't - I hate it. The longer I had it, the more I hated it. I hated it so much that I sold it, and I am a person who almost never sells gear.

"Tweak" and "Tweeze"? WTF? I don't want to have to keep a copy of the manual around just to understand what the knobs do - and they change with each "emulation". I should not need a manual at all for a tape echo emulation. One of Line 6's typical failings is that they try to cram too many different "features" into one unit, resulting in user interfaces that are seriously unintuitive. I DO NOT want to be fumbling around in the middle of a performance trying to remember what the damn knobs do. And I DEFINITELY do not want my head selector switch on a continuously variable pot with no indication of where the "clicks" might be.

All the digital kids these days seem to want more and more "features". I don't. I want something that just works without my having to take time to think about it.

I also have issues with the Boss RE20 - it was really disappointing - but at least the controls make sense. I still have that one, although the design flaws make it impossible to perform some of my favorite (real) Space Echo tricks at the sound board.

I think that probably I'm just a lot more experienced than most of the people around here and have much higher standards. Most people these days don't even know how a (real) Space Echo is supposed to sound because the vast majority of the ones I've encountered recently need some serious service.

Another point is that if you play with significant amounts of distortion you are not going to notice Line 6's poor tonal quality. I, however, use my delays on clean signals a lot - both guitar signals and signals through a quality mixing console, either live or studio. You are not hearing what I'm hearing.
Old 1 week ago
  #66
Gear Nut
 

Quote:
Originally Posted by John Eppstein View Post

Another point is that if you play with significant amounts of distortion you are not going to notice Line 6's poor tonal quality. I, however, use my delays on clean signals a lot - both guitar signals and signals through a quality mixing console, either live or studio. You are not hearing what I'm hearing.
I normally don't use the DL4 with "significant amounts of distortion"
and although I used it a lot for for guitar, and it sounded great. (Clean Signal, Overdrive, or Distortions)
Nowadays I use it more for Studio Mixes, and Live Sound mixing, it gets used in main vocals and instruments a lot, it sounds great.

You are not more experienced than anyone around here, and you should really tell us which are the "Kids" you're talking about

Use it in the Studio with SSL console, Apogee, Lavry and Focusrite Red converters. DL4 sounds great

Use it Live with Midas Pro6, Pro2 and Pro1. Soundcraft Vi series, Digico SD series consoles. DL4 sounds great

I will never hear what you're hearing because first of all my years are in perfectly good shape, and my brain is also working quite well, something that might not be the same condition as someone that has problems in using a delay with 6 knobs.
Old 1 week ago
  #67
Gear Nut
 

No beef with the DL-4 here either. Good sounding unit which I'd still have around if I could rely on it. I wonder how much hate directed towards it is just your common or garden Line6 snobbery. Although these days you'd argue it has been some way usurped by Strymon & TC.

For those whose ears can't tell the difference between drive and modulation, a glossary for tweak & tweez were on a couple of stickers you could stick to your unit (like with some multi-function boss pedals). Again, maybe some were too snobby to take the hint.
Old 1 week ago
  #68
Gear Nut
 
Janne19691's Avatar
I have had my Line 6 DL4 for 17 years i think. It's been serviced at least 3 times. I have tried to like a few other delay pedals along the way but i always returned to DL4.

I have replaced the switches to normal wired ones and added a preset bank switch to make it have 6 presets. I don't think i am gonna let it go anymore
Old 1 week ago
  #69
Lives for gear
 

Quote:
Originally Posted by iLCacciLLo View Post
Personally I don't like TC delays,
I dislike the sound of Nova Delay, Flashback or Alter Ego.

Alter Ego tries to emulate analog and tape delays, but every preset has too much modulation that seems that in every Delay theres a TC Chorus connected. It seems every preset has the same lush chorus character, it's horrible.

You know there’s an editor app that you use to adjust that to taste, right?
Old 1 week ago
  #70
Quote:
Originally Posted by iLCacciLLo View Post

You are not more experienced than anyone around here, and you should really tell us which are the "Kids" you're talking about
I'm 68 years old. I started playing guitar at the age of 12 or 13. Started doing sound at 18*. First music lessons (piano) at the age of 6 but I didn't get on with the teacher. Wrote my first song at 7. Helped Dan Alexander (google him) build his first studio, Tewksbury Sound Recorders, in 1976, did my first real session in '77.

I actually started fooling around with my dad's tape recorder at around 8 years old. Dad also had a portable disc cutting lathe.

There are a few guys around here with that much experience but not many.

I seriously doubt that you are one of them.

I leave it up to you to figure out who I regard as "kids". Here's a hint - it's not entirely a matter of chronological age.

Quote:
Use it in the Studio with SSL console, Apogee, Lavry and Focusrite Red converters. DL4 sounds great
Really? If you've got all that cool studio gear I'd think you'd pop for a decent delay. Me, I have a Lexicon PCM90 with the upgrade and a couple of Roland SDE 1000s. Even the obsolete old Rolands sound better than the Line 6 crap.

Soundcraft DC2020 console into a Studer A800 MKIII 24 track and an Antelope Orion 32. You see, I actually KNOW what tape is supposed to sound like. And Line 6 ain't it.

Quote:
Use it Live with Midas Pro6, Pro2 and Pro1. Soundcraft Vi series, Digico SD series consoles. DL4 sounds great
I hate digital consoles. I do, however, love Midas analog consoles produced prior to the Behringer takeover. Digital consoles represent the triumph of portability and a certain odd sort of convenience over sound quality and audio versatility.

Of course, if you came up on the new stuff you wouldn't really know, you don't have the necessary benchmarks.

Quote:
I will never hear what you're hearing because first of all my years are in perfectly good shape, and my brain is also working quite well, something that might not be the same condition as someone that has problems in using a delay with 6 knobs.
(Obviously not well enough to tell the difference between your "years" and your "ears", eh? Sorry, that was a cheap shot, we all make misteaks.)

My ears are actually in amazing shape for a person my age (measurable response up to around 15k oddly enough. There's some rolloff up there, but it's not gone. There are lots of much younger people with worse ears.)

However, being trained how to listen is actually more important than raw frequency response. Most people don't even know what they're hearing, hence people who think that boxes like the DL4 have acceptable sound quality.

As to how well your brain works, it's not my place to comment. You attitude, however, is badly broken.

Please define what "tweak" and "tweeze" mean in audio terms? I am unaware of any meaning attached to those words.

It's a stupidly defined interface, poorly thought out, and laid out by a person who had never had to use such gear in the course of live performance. The decision to use a continuously variable pot for "head selection" in Space Echo mode is utterly moronic, since you have no way of telling where the target head setting you're switching to actually is. It might be OK for somebody who sets up one static setting and leaves it alone for the duration of a song, but those of us who came up using real Roland Space Echos at the console learned to use them dynamically, changing setting on the fly in mid song, for example switching from a fast slap in the verse to a long spacey mulithead in the middle 8, then back again, and you just can't DO that on a DL4. Plus the idiotic thing resets the "motor speed" to default when you change head settings (this is also one of the two major failings of the current Boss Space Echo emulation.). Instead of doing the work to get the emulation right L6 stuck in stupid things like adjustable wow and flutter - if one of my Rolands had had noticeable wow and flutter it would have gone for a quick trip to the test bench for proper servicing. The LAST thing I would ever want is emulation of a broken machine.

And the DL4 just doesn't sound like tape. Ignorant people who have never actually USED tape think that adding noise and hiss "emulates" tape. It doesn't. Nobody sane uses tape for the hiss - or the flutter, or any or that nonsense.People love tape for the quality of the sound when running clean and the smooth way that it goes into magnetic saturation when you hit it harder - NEITHER of which did Line 6 (or Boss) get right. When you try that with one of the digital SE pedals all you get is horrible sounding digital clipping. In the old days I used to run my SE with the overload light just barely flashing which was the sweet spot for audibility in a loud metal mix - it didn't sound distorted really, but it added a little bite. The DL4 doesn't even have an overload indicator, and if the one on the RE20 flashes even barely you're in digital overload hell.

I learned my Space Echo chops from Gordon "Gunji" Patterson with Sabbath and George Geranios with BOC and when I try that stuff with a DL4 it JUST-DOESN'T-WORK. With the Boss RE20 it's like trying to run a marathon in a hip cast.

You kids don't know what you're missing - because you've never been there.


* - this is not entirely accurate, because prior to that time all bands carried some sort of PA, which might have been a spare input on an amp or might have been as elaborate as a 100 watt Bogen Challenger with 4 JBL D120s in home made boxes with a couple of (pretty horrible) Banshee horns on top. When I was 18 was when companies in the US began making purpose-built PA systems for bands and small clubs. I think the Brits might have started building such things a couple years earlier.
Old 1 week ago
  #71
Quote:
Originally Posted by Fibreman View Post
No beef with the DL-4 here either. Good sounding unit which I'd still have around if I could rely on it. I wonder how much hate directed towards it is just your common or garden Line6 snobbery. Although these days you'd argue it has been some way usurped by Strymon & TC.

For those whose ears can't tell the difference between drive and modulation, a glossary for tweak & tweez were on a couple of stickers you could stick to your unit (like with some multi-function boss pedals). Again, maybe some were too snobby to take the hint.
I have not used the Strymon products myself but have been very, very impressed by the sound quality, which is everything that the DL4 is not.

From what I've been able to research though, Strymon also fails to get the head switching/motor speed problem right in their Space Echo emulation. I've been meaning to contact them about it, explain the problem, and see if they might be interested in developing a product that gets this right.
Old 1 week ago
  #72
Lives for gear
 
KevWind's Avatar
Quote:
Originally Posted by John Eppstein View Post
How nice! I have a cyberstalker! Do you have nothing better to do with your time than scour the internet for stuff to harass other people with? That's pretty pathetic. I'm also pretty certain that it's a violation of Gearslutz rules.

That video was supposed to be a private clip shot from when we were producing the outro on a novelty song we recorded 4 or 5 years ago. A well meaning but somewhat naive and misguided friend must have uploaded it without permission. She has been contacted. I guess I do owe you thanks for alerting me to the invasion of privacy. Kinda.
We have had some difference of opinion and some agreements in the past.
But I gotta say Honestly I am far more impressed with you from that video than virtually any post by you or about you. I think it is outstanding to have the ability to lighten up, laugh with others, and or at oneself, and speaks volumes. IMO so

And BTW this is totally spot on
Quote:
However, being trained how to listen is actually more important than raw frequency response.
Critical listening is a learned skill, not a biological trait.


Now as for the op topic , I can't really contribute because the only delay pedal I use is the analog MRX Carbon Copy.
But I have been toying with the notion of getting the Neunaber Immerse which is a digital reverb, but has a couple of delay added settings
Old 1 week ago
  #73
Quote:
Originally Posted by KevWind View Post
We have had some difference of opinion and some agreements in the past.
But I gotta say Honestly I am far more impressed with you from that video than virtually any post by you or about you. I think it is outstanding to have the ability to lighten up, laugh with others, and or at oneself, and speaks volumes. IMO so

And BTW this is totally spot on Critical listening is a learned skill, not a biological trait.


Now as for the op topic , I can't really contribute because the only delay pedal I use is the analog MRX Carbon Copy.
But I have been toying with the notion of getting the Neunaber Immerse which is a digital reverb, but has a couple of delay added settings
Thanks, Kev! On both counts. What bothered me about the posting of that clip was the spirit in which the out of context clip seemed to be posted - and the fact that I'd never been consulted about posting it on Youtube. I knew it had been up on a private page on Facebook, but Youtube is a whole different can of worms.

Yes, I do actually have a sense of humor, including about myself. It probably doesn't come over here very well, most of the time.

That clip was taken during a production session for a song called "Burgers and Beer", which is a kind of comic twist on the old country trope of songs like "Busted". The protagonist is sitting alone in his foreclosed house, laid off, both his Caddy and his truck have been repo'ed, his wide split with the kids and his girfriend left too, the place is a total mess..... but he doesn't care because he's got a bag of Mickey D's and lots of beer! The outro consists of "Wack a dookie, Wack a doo", which is kind of a wink and a nod to both Roger Miller and Green Day (how's that for a combination) constantly accelerating over a bed of crowd and party noises compiled from layered live recordings of the crowd at my local bar combined with a bunch of friends in the studio hollering "Wack a dookie, wack a do" while clinking glasses and tooting kazoos until the tempo reaches a point where it all falls apart in chaos. The clip was taken when I was directing some of the people for one of the studio takes.

Hey, recording should be FUN!

Performed live, the outro is mostly an attempt to get the crowd to sing the "Wack a dookie" nonsense line.
Old 5 days ago
  #74
Here for the gear
One more vote for the Line 6 DL4, although it might make an outstanding anchor for a bathtub boat.


Line 6 gear has never made me listen twice. I need Mojo+Vibe, I need some "realness." "Real" and Line 6, have never once crossed paths IMHO. Want real? Buy the real thing. A model of a Mustang, can't cath my Mustang.
Old 5 days ago
  #75
Gear Maniac
 
gladf7's Avatar
Cool I gotta call BS

"The DL4 sounds great, and it's a favorite amongst a lot of people.

I have 5 tape delays (Copicat MKIV, Roland Chorus Echo RE-501, Fulltone Tube Tape Echo (Echoplex EP-2), Binson Echorec A602TR and Echolette E51), I also have some analog delays, the Boss DM-2, Deluxe Memory Man, Yamaha E1010.

On the digital Effects I have Strymon El Capistan, Boss DD-2, Boss DD-5, Catalinbread Echorec, Boss RE20

The only thing I can say is that the DL4 holds pretty well sound-wise to any of the best pedals and tape delays of the bunch, and even though I have a lot of options I think it sound so good I use it regularly."


Really 15 delays why?? Are we supposed to think that makes you cool?
I have had a Line 6 and it is a tone eater for sure. I have seen some big name guys them but can't see or hear why. Either they are getting paid by line 6 or they use the DL4 in a separate chain maybe who knows? I just know I am not a fan of Line 6.
I got an RE20 which I like I and a Boss Delay DD 3, I might spring for a better delay later but you can bet I will never have 15 delays.
Old 3 days ago
  #76
The line 6 has a bit of a tone suck and the interface is terrible - you can store presets but have no way of knowing what actual settings were stored.

That being said, I miss the swell delay - that's an awesome sound you don't find on other delays and the price of the DL4 is much lower than the better delay units like the Timefactor or Strymon.
Old 3 days ago
  #77
Quote:
Originally Posted by Reverb View Post
The line 6 has a bit of a tone suck and the interface is terrible - you can store presets but have no way of knowing what actual settings were stored.

That being said, I miss the swell delay - that's an awesome sound you don't find on other delays and the price of the DL4 is much lower than the better delay units like the Timefactor or Strymon.
By "swell delay" do you mean where the delay feedback swells up to runaway? If so, the Boss RE-20 does that.
Old 3 days ago
  #78
Lives for gear
 
bitman's Avatar
I would say the little white Behringer delay pedal.
Echo for 35 bucks - good but the sound is.... unremarkable.
I was happy to be able to sell mine off.
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