BOSS Intros ‘Next Generation’ RE-202 Space Echo, Compact RE-2 Space Echo

BOSS today introduced the RE-202 Space Echo, a new hardware delay effect that they say recreates the legendary Roland RE-201 Space Echo experience, in an advanced delay pedal with modern features.

Here’s what they have to say about it:

“Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and our latest innovations, the RE-202 faithfully delivers the authentic sound and behavior of the Space Echo, like never before. Built by the company that designed the original, this advanced pedal captures the RE-201’s magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colorful preamp circuit. And to take things even further, we’ve expanded the vintage Space Echo experience with lots of new features tuned for today’s music.”

Features:

  • Recreates the sound and behavior of the legendary Roland RE-201 Space Echo
  • Classic multi-head tape echo sound with expanded delay time
  • Original three-head configuration plus additional tape head for 12 unique echo combinations
  • Independent stereo reverb section with original spring reverb type plus hall, plate, room, and ambience
  • Saturation control for adding magnetic tape compression and preamp coloration
  • Wow & Flutter control for introducing varying levels of natural tape modulation
  • Choose between new and aged tape conditions
  • Selectable input modes for optimum performance with instruments and line-level gear
  • Warp and Twist effects with footswitch control
  • Select between the unprocessed analog dry signal or the modeled sound of the original Space Echo preamp
  • Four onboard memories plus the current panel settings
  • Save and select 127 memories via external MIDI program change
  • Tap tempo and carryover functions
  • True stereo input and output
  • Expandable control via external footswitches, an expression pedal, or MIDI

The company also introduced the RE-2 Space Echo, a compact alternative:

See the BOSS site for details.

34 thoughts on “BOSS Intros ‘Next Generation’ RE-202 Space Echo, Compact RE-2 Space Echo

  1. Looks pretty awesome. I used a 501 for years,and really miss it,now with the addition of midi control and midi program changes,this sounds like my next pedal. Prob need like 6 of them for each of my main synths..Hehe

  2. Insta-buy – this looks like great fun. Was just using my RE-201 on a project last week, so I’m in the mood!

  3. Ummmmm…but it’s NOT a Tape Echo. So what is the point exactly? A new plugin in a pedal.
    Why not actually boutique the real Space Echo…with real tape????
    I have a KORG STAGE ECHO…which is better then the Space Echo btw…and there is NO cpmparision to real vs emulated tape echo.

    1. The point is to archieve a good sounding delay effect but without tape!
      The usage of tape was purely a compromise with many problems.

      Why a real tape when it has no advantage at all ????

          1. pffft. Are you kidding? There is absolutely NO way. You obviously have never had a real tape echo or you would know that is impossible. If there were true then analog modelled synths would sound indistinguishable from their legacy analog counterparts (they don’t at all).

            1. “If there were true then analog modeled synths would sound indistinguishable from their legacy analog counterparts”

              Literally every time anybody does a blind sound test like this, musicians can’t tell the difference. And nobody really cares anyway.

              Use what you like and make cool things!

              1. True, unless test isn’t prepared for areas, where stochastic properties of elements used are more important. Granted: they are not popular areas, but I – for that matter – am exploring mainly aggressive, saturated and stochastic sounds. Clean and musical isn’t for me. I’m even selling my Solaris because it sounds too clean, while it would be my dream synth if only things could be more stochastic without loosing modulation (I could saturate all lag processors, envelopes and LFOs just to add a bit more of randomness to different stages of sound).

                Another thing that shows how some properties were neglected is Vintage Knob provided by Sequential, that showed how proper implementation of modulation was neglected until this very decade (I mean, all companies focused so much on sonic components, that whole industry forgot about THAT?! And BTW: envelope stages are not modulation targets in Solaris, except few performance controls, so good luck with hitting them with SnH set to 0 and reset – that provides constant random value per key pressed).

                I don’t want to say there is no place for proper digital emulation. But that tests are designed wrong same way, like that test, showing that JD-XA can be replacement for OB-6 (It cannot, and I find this particular test most retarded among all, because those two synths have HUGE sonic areas not accessible by other synths). They all just focus on some very basic subset of possible sounds.

                Another thing with most of that tests is that they are asking question, which is which. And when people are suspecting analog to sound better, if difference occurs, they might point to digital, which only shows that some people prefer digital synths (making any distribution of answers not concluding regarding question some people are hoping to get answered). Also: remember that comparison of three analog drum machines, where two were original 909 and one was clone? People recognised the clone, because it sounded differently and stand out from three samples provided. And that was all analog!

                Anyway, I just wanted to make strong thesis in my comment: digital isn’t there yet all the way and for some people it needs more polishing. And killer fact about this is: to achieve 100% emulation, it would be cheaper to go with real analog, unless one favours other properties that digital provides – like having different models run on same chip. But for proper emulation 1:1 if you want to make digital work like analog you will run into problem of having blocks of electronics running emulations of scale smaller than the blocks itself making it impossible task without dropping some precision. Also: quantum effects of some specific production results are impossible to emulate. Well, I see solution of that in reaching to cloud and a company like Roland providing random data like that one company that name I forgot, that uses lava lamps for proper random number generations.

                Aaaannnddd… I’m finishing this because I always think that I am not precise enough and I could be adding words without end. If something isn’t clear, I might clarify that later.

                Cheers!

            2. Maybe in a studio or with phones you might hear a difference. In a live setting analogue vs digital gear can’t be picked.

            3. The fact you said the Korg delay is better than the Roland one shows you don’t know what you’re talking about.

            1. i think you haven’t used plugins in good few years if you think this can’t be done on most of the tape echoes emulations.

            2. Ok i made my mind up here – it is true that with synths certain modulations, overdrive or distortion behaviours definately sound differnt on analog ones then on digital emulations.
              Some details simply never where modeled and it might be nearly impossible to emulate every modulation situation exactly.

              So it is most likely true that this also goes for tape machines.
              The video was quite convincing.

              DIgital emulations are suitable for many situations but not for all.

    2. The reality of our times is no one is making new tape units. I had a collection of tape units that I used before Katrina that I had to sell off unfortunately to survive myself, The only tape machine that I know of,is the replicator that’s being made currently,besides the high tone unit of the past 10 years. I always prefer tape over emulation but this one is available,and with great features to boot. And no,it’s not a plug-in,it’s a hardware unit that can be taken to a gig without a computer,and that’s the market they’re shooting for. I’ve heard plenty of great pedals that sound wonderful,and I’ve heard plenty of great tape delays that sound wonderful, and I’ve also heard a couple of tape delays that were lame and had no personality even though they were analog..it just varies per design.

      1. New tape units are being made (Echofix, Replicator, and (perhaps one day?) even the Catskills Analog TE-2) but they’ll cost you a bit more.

      2. Proud EchoFix owner here. I encourage you to check them out if you haven’t already. It’s a wonderful machine on vocals, synths, guitars, drums–whatever you’ve got. Instant vibe machine. But I don’t take it out of my studio, so this new stompbox has definitely got my attention.

    3. Tape echo is a niche product these days. A gigging musician doesn’t want a device that needs the tape periodically replaced (due to wear, breakage, being eaten). If Roland made a tape echo they’d have to get back into the business of selling tape loops, and the market for newly manufactured magnetic tape is sketchy at best.

      I love tape echo and I have a few units myself. It’s a shame that we’ll never see another “real” Space Echo, but you know – reality.

      If you want a modern Space Echo check out the Echofix. It sounds fantastic.

    4. The extremely limited demand for real tape echos is fully satisfied by the remaining second hand units and the the replicas that are available. Roland run a business, not a charity for audio nostalgics.

    5. There never was a Roland Tape Echo, it was a ‘Space Echo’.

      This is obviously the modern counterpart and is free of the limitations of what could be done with analog tape.

      If you want a tape echo device, they’re available from Echo Fix, but they’ll cost you an extra $2k.

  4. The RE-2 has nearly zero character from the original tape Space Echo. I’ve used it extensively. Poor effort on Roland’s part, surprisingly.

  5. People should shut up and take their flying saucers more gratefully. The tape design here and vinyl LPs have certain organic charms that don’t always make the leap to digital form. Having enjoyed both, I get it.

    I also remember (semi-happily) fighting tape in every form, including saving my LPs to a lot of it. Even the most anal-retentive person’s albums gather dust and hair over time, period. I brushed, wiped and vacuumed like mad. Guess what? You know – reality! 😛

    So, not to sound like a company shill, but when did a BOSS product ever sound truly bad? Even my noisy old half-racks still delivered to a fair degree. Now its only as dirty as you want to make it. A Space Echo in a floor pedal isn’t a point for argument; its almost miraculous. First World consumer miraculous, but still…

  6. You can get a Fulltone tape delay for the price of a small used car. Like many things nice but expensive. Each to their own.

  7. am I the only one that finds it funny that the big announcements of the last few days are the roland space echo and the line6 dl-4?

  8. RE-2 will be my new DJ rig fx pedal, exactly what I’ve been looking for! Simple controls, classic sound, and I wont miss it if a punter spills beer on it

  9. the most authentic recreation of their recreation, and you just need to carry around some tweezers to turn the knobs on the RE-2. JK they look great and, maybe i don’t already have enough delay pedals??? lol

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