 |
 |
 |
|
JACQUES PRISONER ANALOG DELAY
It is often refered
to analog delay as low-fi tone. It's a mistake. While it sounds less
bright than crispy (digital), a pro quality analog delay must satisfy
all fidelity exigence of a working musician. In the old days, you could
bet there was a difference between cheap plastic analog delay pedal and
big bucks studio rack. I remember a Dynacord studio analog delay, one
of my fave, costed the price of 2 stratocasters! This is what we did in
the PRISONER delay: thanks to its high quality N.O.S. Made in Japan
Matsushita BBD chips, the PRISONER offers 0.3 seconds of pure hi-fi
analog delay, but there's much more.
As you must know, when you stomp on a delay box, you hear the
wet AND the dry guitar tone. What you absolutely should know is that in
digital delay, even the DRY tone is digitalized, which means that how
good the delay is, the dry tone which mixes with it is lousy. Try you
main digital squeeze with all delay down and compare it with your
original guitar tone. You will see what I mean. Of course, no such
thing with the PRISONER: the dry tone in the mix is exactly your guitar
tone. Believe me, this makes a huge difference and this is part of why
we still want analog delay in our computerized world.
Modulation, this is the PRISONER's forte. When meeting Steve
Morse for the MERCER BOX 2, I noticed he was using an old DigiTech rack
crap. I asked him why: the answer was clear: modulation delay. Having
your echoes mixing with your -good- dry tone and then going into chorus
gives you a 3D tone no other effect can give you in monophony. And
analog pro tone completes this picture for total heaven.
VIDEO DEMO:
|
|
|
 |
|
 |
|
|
|
