Like its illustrious ancestors, the Boss RE-201 and the Maestro Echoplex, the Replicator D’Luxe operates using a magnetic tape that runs across recording and playback heads. T-Rex has chosen a more compact tape format, wound inside a plastic cassette. This modern take on tape delay benefits from a new motor that makes its operation exceptionally quiet.

The pedal features a clear and intuitive interface. You’ll find the essential controls: Delay Level, Feedback, and Time, along with two selectors that give access to the Short heads (108 ms – 520 ms) and Long heads (215 ms – 1000 ms). It is even possible to use both playback heads simultaneously for highly original sounds.

But that’s not all. On the rear of the pedal, there is a control labeled Saturation which, as the name suggests, adds a subtle saturation to the repeats. Finally, a Kill Dry button allows you to hear only the repeats, without the direct signal.

If you’re looking for a true compact tape delay with plenty of character and authenticity, the Replicator D’Luxe will win you over. It allows you to rediscover all your favorite delay tones, whether you’re playing guitar or mixing a dub track.

Whether you prefer plate, spring, room, or large hall reverbs, the RoomMate D’Luxe gives you the essential tools you need to shape your sound. And the spring reverb has that true vintage character, just like the old amps with real spring tanks. The controls are simple and musical. Shorten the decay for a tight room, or let it bloom into something big and open. Use the tone knob to warm or brighten the sound. Everything reacts naturally because of the tube-driven signal path.

And when you want something more emotional, You can let the shimmer follow your playing and grow under your feet. Designed and hand-built in Denmark, this pedal is a piece of real craftsmanship, made with care, passion, and a deep love for music.

The RoomMate D’Luxe adds the warm space your sound needs.

The first oil can echoes were made by the Tel-Rey company in 1959, achieving the repeats by writing a static charge to a small rotating disk inside a can, using oil as a lubricating dielectric. This novel approach yields very different sounds than what you would hear from a tape machine, and the results instantly transport the listener to a darker and murkier place that positively oozes vibe. Olivera has a host of powerful features that make it easy to integrate these nostalgic sounds into your modern rig: Discrete stereo operation for independent processing of the left and right stereo inputs. A simplified control set and expression pedal and Multiswitch capability. Delay spillover for preserving repeats when the pedal is switched off. Discrete Class A JFET stereo input preamp for exceptional touch sensitivity and ideal frequency response.

MIDI control of patch recall and continuous controller data. Premium components, rugged construction that can take a beating and a USB jack for performing firmware updates or controlling the pedal from your computer.

It took several years to get there, but here it is finally, the Anasounds Utopia Deluxe, and we think it was worth the wait. Of course there’s a tap tempo footswitch that can also trigger self-oscillating infinite repeats. The pedal has three subdivisions to choose from, including dotted eighth. The Deluxe also features a Tone setting for brighter or darker repeats, a built-in preamp that makes your harmonics sparkle like a vintage Echoplex can. A knob adjusts both the volume and gain of the preamp, and a switch puts it in “always on”, “always off” or “on when the delay is active” mode.

Finally, the central “Bliss” knob takes care of modulation. It has three zones for three modulation types (tape echo, chorus and vibrato), and the effect zone allows you to automatically set up depth and speed.

Introducing the BigSky MX from Strymon, the next-generation reverb workstation that changes the game for dedicated reverb pedals. It can be daunting to dramatically improve a product like the original BigSky, as it’s been a staple on pro pedalboards for a long time for a host of very good reasons, but we’ve spent the last four years making sure that we achieved that goal. It sounds bigger, wider and more expressive than anything else on the planet, with a host of new features and capabilities that make it the new Greatest Of All Time reverb.

The new BigSky MX is a world-class reverberator that packs a host of powerful features into a single enclosure: it uses a tri-core 800 MHz ARM processor to achieve two reverb machines at once, with Series, Parallel or Split audio routing and new panning controls. Of the 12 reverb machines, seven are brand new and the remaining classic machines all get powerful sonic and feature upgrades. The new convolution engine is capable of playing ten-second stereo impulse responses, along with the ability to fully edit the IRs. 22 impulses come preloaded, including a large number of custom long captures of classic analog studio gear. Stereo I/O, DIN and TRS MIDI I/O and USB-C round out the connections, and a new OLED screen, dedicated Inifinite/Freeze footswitch and multiple footswitch modes make it easier to control than ever.

Brig’s stunning dBucket sound generation gives you three different and meticulously crafted analog delay voicings. The 3205 voice delivers gritty repeats that can morph as it feeds back, creating sounds ranging from gorgeous slapback echoes to psychedelic sci-fi effects. The 3005 voice recreates a dual MN3005 BBD chip circuit running at 15V for longer delay times, higher headroom, and warm repeats with a soft, dreamlike quality. The Multi voice features two cross-coupled, super-clean dBucket delay lines with golden ratio timing to create complex soundscapes and a huge stereo soundfield that remains musical and clean even while sitting on the edge of self-oscillation.

Brig is a triumph of compact design, offering a huge amount of power and flexibility in an elegantly small form factor: Three truly distinct delay voices. Artifact-free tap tempo. Stereo operation. Straightforward responsive controls and expression pedal capability. High-impedance, ultra-low noise discrete Class A JFET stereo input preamp for exceptional touch sensitivity, dynamics and feel. MIDI control for tempo, patch save/recall, and more. Premium components, rugged construction, and a USB jack for controlling the pedal via MIDI from a computer or for performing firmware updates.

With the DD-500’s 12 delay modes, you can create any delay sound you can imagine, and then some. Everything you need is here, from warm, gritty vintage delays and tape echo to complex modern delay lines that employ pitch shifting, filtering, and other unique processing. With the hands-on knobs, it’s easy to shape essential parameters and create great sounds immediately. Each delay type also includes a semi-parametric four-band EQ, modulation, ducking, and many other parameters, allowing you to dive deep and refine tones with maximum precision.

The Cloudburst boasts an exceptionally accessible knob-per-function layout, including a single Decay knob that unlocks a vast sweep of different echo options, from a slight room reflection to an all-out wash of ambient reverberation. Moreover, a cutting-edge Ensemble control integrates dynamic synthetic string-style harmonics into your signal, while the Mod control is a must-have for creating movement and texture in your signature soundscapes. Of course, this pedal’s slimmed-down box makes no compromises on Strymon’s studio-quality formula — the Cloudburst sports full MIDI functionality, USB-C, 300 presets, stereo I/O, and a host of other top-end features found on its larger siblings. Strymon never fails to impress; fittingly, the Cloudburst’s seamless blend of studio-grade sound, near-limitless sonic options, and traditional stompbox workflow prove the sky’s the limit for this single-algorithm reverb pedal.

Expression pedal input enables expressive control over the delays’ parameters, and the external tap-tempo can be used for remote tempo control.
These followings algorythms are available : Digital (max delay time : 1 second), Tape (max delay time : 1 second), Diffuse (max delay time : 1 second), Ambiental (max delay time : 840 milisecond)