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Help!I'maRock! said:
i remember loving the DMM. i don't remember the mix knob being an issue. course, i may have compensated for it early, too, and just don't remember.
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Great sounding unit but the unit is large and I feel that it would be better to use a small mixing board to blend the dry and wet outputs. Two much work for just one unit compared to what is out now. At NAMM a few years ago, Xotic had a great prototype blender that they had...sigh...however not for sale in the future. It was there just for demos of the other gear being marketed.
 
Modern Saint said:
Great sounding unit but the unit is large and I feel that it would be better to use a small mixing board to blend the dry and wet outputs. Two much work for just one unit compared to what is out now. At NAMM a few years ago, Xotic had a great prototype blender that they had...sigh...however not for sale in the future. It was there just for demos of the other gear being marketed.
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i got rid of the DMM for two reasons, size and distortion. the grit on the repeats was cool, but i found that it was adding a distortion to my dry signal. that was how i came to the Jacques Prisoner. it did everything the DMM did in a smaller footprint with more control, and with a cleaner sound. but the level knob doesnt' work the the same as the DMM's mix knob. so it's just something for me to be wary of.
 
Help!I'maRock! said:
i got rid of the DMM for two reasons, size and distortion. the grit on the repeats was cool, but i found that it was adding a distortion to my dry signal. that was how i came to the Jacques Prisoner. it did everything the DMM did in a smaller footprint with more control, and with a cleaner sound. but the level knob doesnt' work the the same as the DMM's mix knob. so it's just something for me to be wary of.
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Playing Journey music the distortion didn't bother me.....duh....which what I really bought for other than simulating EJ or Edge type tones. My desire to move away from it was really size and blending. The Wampler does what I need it for on my country stuff as it blends the wet and dry signals really well. Plus the sound is clean and real true. For my General Purpose board, I use the Flashback because of the 2290 setting. I like the analog setting as well but the 2290 is great and the effect level is nice for all types of music.
 
Modern Saint said:
Playing Journey music the distortion didn't bother me.....duh....which what I really bought for other than simulating EJ or Edge type tones. My desire to move away from it was really size and blending. The Wampler does what I need it for on my country stuff as it blends the wet and dry signals really well. Plus the sound is clean and real true. For my General Purpose board, I use the Flashback because of the 2290 setting. I like the analog setting as well but the 2290 is great and the effect level is nice for all types of music.
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the Prisoner really did me well until i decided that i wanted longer delay times. and tap tempo.
 
Help!I'maRock! said:
the Prisoner really did me well until i decided that i wanted longer delay times. and tap tempo.
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With everything that I play today, 500-600ms is more than I really need so no biggie there. And for country, delay times are really short for slapback and chickenpicken. Worst case scenario for long delay time the Flashback would suffice with up to 6 seconds. Why in the world would I need that for :shrug: unless I was off in some type of astrial plane.

My interest in the Diamond was the sound but it isn't urgent and in need with that - GAS has subsided. The Strymon would be Ossum if I did a lot clean sounds and the clarity is impecable, but I haven't even explored the Flashback beyond basic needs. My old Boss SE50 half-rack was one of the best delay's that I enjoyed using but those were rack days.
 
Modern Saint said:
With everything that I play today, 500-600ms is more than I really need so no biggie there. And for country, delay times are really short for slapback and chickenpicken. Worst case scenario for long delay time the Flashback would suffice with up to 6 seconds. Why in the world would I need that for :shrug: unless I was off in some type of astrial plane.

My interest in the Diamond was the sound but it isn't urgent and in need with that - GAS has subsided. The Strymon would be Ossum if I did a lot clean sounds and the clarity is impecable, but I haven't even explored the Flashback beyond basic needs. My old Boss SE50 half-rack was one of the best delay's that I enjoyed using but those were rack days.
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the Prisoner is only 300ms. i think 1 second is really the top end of the usable range for a delay pedal.
 
Help!I'maRock! said:
the Prisoner is only 300ms. i think 1 second is really the top end of the usable range for a delay pedal.
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In my young I longed for a 2 second delay. Alot of it has to do with my infatuation with Adrian Below's solo work and experimentation. But those days are long gone but what has remained is the need and wanting of that Allan Holdsworth meets Robben Ford clarity for clean tones. As for solo's I don't use much processing and haven't since 2005. Trying to get back into using it again.
 
i just read about the Cusack Tap-a-Delay, which I liked the sound of quite a bit, and it's mix knob works the way the Jacques Prisoner does. it also has a 3 way divide switch for the tap tempo, which oddly is something the Wampler doesn't. and who knows, maybe all this will go out the window, and i'll get the Catalinbread Echorec anyway. :lol:
 
I don't think this is quite what you are looking for, but when I saw this I thought of you.
(I have some boards already... but no parts yet.)

 
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i did see that. it's on my radar, though i don't know anything about the company or the pedal other than what's in that video. let me know what you find out. :thu:
 
Modern Saint said:
Way true. It would be cool to see what the other chips in there are because that 3000ms has me still bothered. Too bad we can't get Adam to pop open his Aqua Puss to take a quick pic and post it - just curious!
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Help!I'maRock! said:
apparently, it's the same chips in the Aqua Puss and Carbon Copy.
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I traded my CC for the AP. Totally different sounding delays and the AP was far more user friendly for the slapbacks that I use (one super short for Rockabilly, one slightly longer for the Brad Paisley'y stuff).

The CC was a darker tone without that nice crack on the backend of the slaps that AP provides. The CC reminded me more of my vintage (early 80's) Memory Man tone wise.

Also, with the max delay time of the AP only half as long as the CC, it was easier to fine tune delay times for slaps.

Why'd ya want me to snap a photo of the inside? I imagine whatever info you're seeking is online somewhere no?
 
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Oh, and tap tempo is a non factor for me, so yea, Wampler Faux Tape Echo is still the bees knees. Amazing. The tape warble reacts to your pick attack. It's nuts. The ''shade" knob aka the "tone" knob sort of does the same thing and at higher settings reacts to your pick attack by adding distortion to the repeats like an old tape machine. Super duper.
 
AdamLopez said:
I traded my CC for the AP. Totally different sounding delays and the AP was far more user friendly for the slapbacks that I use (one super short for Rockabilly, one slightly longer for the Brad Paisley'y stuff).

The CC was a darker tone without that nice crack on the backend of the slaps that AP provides. The CC reminded me more of my vintage (early 80's) Memory Man tone wise.

Also, with the max delay time of the AP only half as long as the CC, it was easier to fine tune delay times for slaps.

Why'd ya want me to snap a photo of the inside? I imagine whatever info you're seeking is online somewhere no?
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The style of music that you play and what I play partially is why the CC doesn't work. While I never used the AP, my Wampler Faux Analog Delay does the job that I wanted it for which is what you get out of the Wampler FTE. AS for the pic, just to see what makes it tick that's all. Kind of a nice comparison between the AP and the Supa.

AdamLopez said:
Oh, and tap tempo is a non factor for me, so yea, Wampler Faux Tape Echo is still the bees knees. Amazing. The tape warble reacts to your pick attack. It's nuts. The ''shade" knob aka the "tone" knob sort of does the same thing and at higher settings reacts to your pick attack by adding distortion to the repeats like an old tape machine. Super duper.
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That would be cool to try with the other variables Adam!
 
Mark Wein said:
thats one reason why I don't use my (otherwise cool sounding) Small Stone.
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unity gain is a big deal to me. no reason i should disappear in the mix when i turn on an effect. it should enhance the signal in the mix instead of just sounding cool in my bedroom.
 
Help!I'maRock! said:
unity gain is a big deal to me. no reason i should disappear in the mix when i turn on an effect. it should enhance the signal in the mix instead of just sounding cool in my bedroom.
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Yeah, that's gets old fast on gigs.... Especially since I'm always changing sounds and levels on the fly. I've eliminated most of that with the M9 and by just giving less of a shit about that stuff on my main gig in general but the custom shop phase 90 that I have just made life so much easier when i changed over. It's still in my small board as a matter of fact.


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