Moog Music has introduced the 500 Series Analog Delay, the first delay designed for the 500 series pro audio format.
The Analog Delay is a 100% analog signal path module that features 800ms of delay time, front panel MIDI control, and an assignable Tap Tempo/CV jack on its front panel. Included with each unit is an VST/AU/RTAS editor for integration into any recording, live, and performance setup.
Moog describes the delay as having “an incredibly clean front end that can easily be pushed into a warm, natural overdrive for saturated delay trails or distorted delay effects.”
Though not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows users to create other time based effects such as tape delay, chorus and extremely modulated sounds. The LFO is easily accessed via MIDI and the editor.
Also accessible via the included editor are advanced features like Tap/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal delay times (up to 4x the front panel position). In addition to Tap Tempo and CV control, the Tap/CV input can also convert click track audio into a tap tempo signal.
The new Moog 500 Series Analog Delay module is priced at $999 and is expected to begin shipping in Dec. 2012. See the Moog site for details.
Originally designed by Bob Moog and released in 2000, the Classic MF-104 Analog Delay was manufactured as a limited edition release of 1000 units. A special “Bucket Brigade” delay chip was employed allowing the effect to remain completely analog.
Unfortunately, the supply of these chips was limited and the final MF-104 sold in 2001. Since then there have been two reissues of the Classic MF-104, the MF-104Z and the MF-104SD.
The MF-104M recreates the sound and vibe of the Classic MF-104. It even uses the same vintage “Bucket Brigade” delay chips found in the original, which provide 800ms of the richest, creamiest, all analog delay on the planet.
A new 6 Waveshape LFO significantly expands the sonic capabilities of this Classic Analog Delay. According to Moog, you can use it to create ‘expansive delays that transport you through time, beautifully modulate the delay trails, or create sounds and delays that are simply out of this world.’
Spillover Mode has been the most popular modification to the MF-104 and is now included in the MF-104M. Decide on the fly whether delay trails end or continue when you disengage the Delay.
A dedicated Tap Tempo switch lets you quickly tap in your Delay Time or LFO Rate, and the addition of MIDI brings a new world of control and function to the MF-104M. Use it to control and manipulate every function on and under the hood. It’s also a great way to incorporate an analog delay into your studio productions.
Pittsburgh Modular has released this official intro video to their Analog Delay module:
The Pittsburgh Modular Analog Delay is “a brand new analog delay module designed around a pair of 4096 Bucket Brigade Delay Line (BBD) ICs to produce a distinct analog delay effect. The maximum delay time when shipped is set at 9/10ths of a second but this can be adjusted up to 2 seconds.
The Analog Delay offers voltage control of the delay time, feedback, and wet signal. A true bypass switch allows the delay to be enabled and disabled quickly.”
Sunday Synth Jam: Phantogram performs their unreleased song, 16 Years, in the Moog Sound Lab.
Vocalist/keyboardist Sarah Barthel sings through an MF-104Z Analog Delay while playing not one, but two Moog synthesizers.
Her left hand is in charge of the Minimoog Voyager Select Series, providing bass lines; the Little Phatty Stage II is arpeggiating in latch mode throughout the entire song. It is also being MIDI synced with the drum machine that percussionist Tim Oakley is performing on. In addition to the drum machine, Tim uses the Minimoog Voyager XL for a percussive sound.
Guitarist/vocalist Josh Carter explores both the full sustain and the mute modes of the Moog Guitar. Going through an MF-104Z Analog Delay and the MF-102 Ring Modulator, Josh creates an ethereal backdrop with the tremolo arm of the Moog Guitar.
The music of Tegan & Sera isn’t overtly electronic, but this live performance from the Moog Sound Lab showcases how they make use of the Moog Guitar, Etherwave theremin and Taurus 3 bass synthesizer.
Technical details below. Continue reading
Christian from KOMA Elektronik shows the prototype of the KOMA BD101 Analog Gate and Delay at the 2011 Musikmesse in Frankfurt, Germany.
Here’s what he has to say about the BD101:
KOMA BD101: Mangle and cut your sound apart with an innovative vactrol controlled analog delay circuit in combination with a fully adjustable wide range frequency gate. It sounds like you’re playing your instrument on the porch outside of your house and inside your amp is slowly sinking in the toilet, CV controlled of course. This might sound strange, but that’s just what this pedal is about: create weird resonant frequencies, shift between heavy delayed sounds and super short pulses, with whatever instrument you want to plug into it.
The BD101 comes standard with a solid footswitch, multiple inputs, an audio and control voltage patchbay and our new innovative expression controller.
Pricing and availability are TBA.
Pittsburgh Modular has introduced a new modular, the Analog Delay.
This is a new 16 HP analog delay, designed around two 4096 stage low noise BBD chips. The Analog Delay features a clean 9/10th of a second adjustable delay time and CV control of Rate, Feedback, and Mix.
The delay range starts at about 55ms up to several seconds of “sludge”. The maximum delay is set with a trim pot so you can choose to use the “sludge” or not. The module will ship with the max delay time set at 9/10th second.
The delay will self oscillate and can be FM’d using the Rate CV input.
The module is expected to be available in April and it will cost $249.