Ibanez designed the Ibanez ES2 Echo Shifter Analog Delay Pedal in a way that it offers us a broad range of awesome creative delay effects pedal with tap tempo that have a digital-like control. Ibanez’s ES2 Echo Shifter gives a delay range of 30ms to1000ms with tap tempo. For rich, animated delay effects add pitch modulations. The oscillation mode allows us to come up with wild psychedelic chaos. Ibanez ES2 Echo Shifter Analog Delay Pedal is a solution for everything including the slap-back delay to modulation-drenched echoes.
Looking at it from the designer’s perspective, I realized that integrating a digital circuit such as the tap tempo to control some parameters in the analog design can be costly and a hassle as well. While tap tempo and digital control have been less common on the analog delays for a long time, such and similar implementation add a lot of versatility. Consequently, the fact that it features a tap tempo and its signal path is entirely analog makes it sell.
• Mix Control
• Feedback Control
• Modulation Depth Control
• Modulation on or off toggle switch
• It has a maximum delay time of 1000ms (1 second)
• The dimensions are 2.6″(Height) x 4.7″ (Width) x 6.3″ (Depth) and a weight of 1.4 pounds (lbs).
The oscillation mode of the Ibanez ES2 Echo Shifter gives extreme delay effects. Flipping the Oscillation switch adds fifteen decibels (15dB) of gain to the feedback loop for spaced out and outrageous echo effects. ES2’s analog design ensures that the guitar tone stays smooth and warm even when it is oscillating out of control especially during a monster solo.
Vibrant Analog Delay
The vibrant analog delay comes with digital-like control. While this pedal boasts a standard bucket-brigade analog delay line; therefore, one has a digital-like control over the delay time. Primarily, one can adjust the foot-switch tap tempo seamlessly while playing the guitar, without the pitch-shifting artifacts obtained from analog delays.
Flexible Nine-volt (9V) Operation
Allows one to use an adapter or batteries then the pedal can run on nine-volt batteries or an optional adapter. Individuals may not have realized that a good number of the analog delay guitar pedals do not take nine-volt batteries; hence, requiring an adapter. This may not seem like a big deal until we find ourselves in a situation whereby we are in a shortage of outlets, and we are looking at our pedal board to see where we could stick the battery.
The controls are thoughtfully and logically situated. The three knobs control mix, depth, and feedback. The mix and feedback controls are standard delay controls. The depth control regulates the amount of modulation function when switched on.
The modulation control dial makes use of pitch modulation to generate lovely tape-style wobbles or underwater warbles with the depth control knob at lower levels. Set the depth control up and realize that the modulation detuning and returning to pitch like “Looney Tunes” by Freddie Tavares’ pedal-steel intro.
The oscillation increases the sensitivity and self-oscillation tendencies of the feedback control. Nevertheless, the delay time slider is the core of the control set. It looks elevated from the old Ibanez Standard Fuzz. The two foot-switches enable the tap-tempo to function well and turn the effect on and off.
The ES2 Echo Shifter’s repeats definitely color the tone and are somewhat noisier, but not like the treble roll-off of a tape delay. Most of us are aware that the analog delay may not be a great choice when the repeats of its original sound are desired but it is a matter of taste.
I have spent most of my guitar-playing life pining for an Echoplex, just to find the DPS and analog approximations dis-satisfactory to operate, or the originals too expensive, but Ibanez ES2 Echo Shifter Analog Delay Pedal has been the best choice for me so far. If hard-pressed to get a cooler-looking pedal, whose sounds range from average to excellent at an affordable delay this will depend on its application. The functionality and smart layout of the controls make the ES2 Echo Shifter to stand out and this bridge the big gap between the modern stomp-box practicality, the peculiar joys of tape delay and the analog synths.
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