It wouldn’t be such a big deal if it worked like a regular tape machine and didn’t use proprietary tape cartridges.
Mind you, I’ve had it over a decade and it only needed a replacement once. I keep the heads clean, keep it dust-free. Basically what I’d do with an actual tape machine before and after each use.
I was just watching an Eric Johnson rig rundown and his tech reworked his echoplex so that it didn't run off tape, it could feed out to any delay he wants and comes beck in through the tape head circuit, such that he's just using the echoplex just as a tone/color box.
I was just watching an Eric Johnson rig rundown and his tech reworked his echoplex so that it didn't run off tape, it could feed out to any delay he wants and comes beck in through the tape head circuit, such that he's just using the echoplex just as a tone/color box.
Interesting. While I love the tube pre and switchable wet/dry configs and stereo outputs, the real tape echo is a valuable studio tone for many reasons. Proper upkeep which anyone who’s owned or used a tape machine knows how.
I was just watching an Eric Johnson rig rundown and his tech reworked his echoplex so that it didn't run off tape, it could feed out to any delay he wants and comes beck in through the tape head circuit, such that he's just using the echoplex just as a tone/color box.
One of Fulltones best selling boost/buffers, (can't remember which one), was simply a part for part ripoff of a Jack Orman design. And Jack admits getting it mostly from an app example from the transistor data book it came from. It's less than $20 in parts, and Fulltone sold it for about $150 - $200.