Empress Echosystem Dual Engine Delay Pedal

Echosystem Dual-Engine Delay

Overview

Spanning the gambit of known delay possibilities and beyond, the Echosystem could be the ultimate delay-crafting tool. Faithful emulations of classics like digital, tape and analog delays are numerous, as well as Empress' own take on each of these delay styles. Moving beyond the traditional, the vast amount of sonic ground the Echosystem can cover becomes apparent. Check out the ambient modes when you're feeling chilled out, or perhaps a visit to the multi tap modes for a taste of inspiration.

The Dual Engine functionality allows any 2 of these delays to be used together, routed in either parallel, series, or left/right configurations.

In addition to delays, there's the super-useful reverb combos, which will elevate any guitar part. Oh, and don't forget Whisky mode, best accompanied by a dram of whatever you've got!


Digital Delay

The digital modes are clean and pristine or meant to emulate some of the characteristics of classic digital delays. These modes allow for full bandwidth and distortion-free operation.

In Use: They sound great as a rhythmic dotted eighth delay. Or try using for a classic slap-back sound.


Tape Delay

The tape modes are designed to emulate the characteristics of a variety of classic tape delays as well as Empress' own custom models. Tape delays typically include harmonic distortion and saturation from recording and playing the audio to and from tape. The frequency response and the modulation is also affected by the electronics and the playback motors of the device.

In Use: The distortion and modulation combine to give a really warm and smooth sound that can be used in a variety of situations. They've chosen to emulate some classic delays which help to reproduce classic sounds from the past.


Analog Delay

Analog modes emulate some of the classic Buck Brigade Devices (BBD) that were common pre-digital delay. The BBD was a chip containing capacitive buckets that would be clocked to transfer a charge from bucket to bucket slightly delaying it each time to achieve a delay. The devices tended to be noisy at high frequencies so often heavy filtering along with companders and expanders were used at the input and output which had a big effect on the sound.

In Use: Due to the high frequency filtering, the analog processors tend to have a darker tone and less present transients. This leads to a really smooth and warm sound overall that sits really nicely behind your clean tone.


Multi Delay

Multi modes allow you to tap a pattern of taps that can be played back with feedback. In these modes they've added different volume and filtering patterns to create really unique textures.

In Use: These modes work well with sparser playing and can really create some unique rhythmic tones. The filter and volume patterns can really bring parts to life.


Mod Delay

These modes modulate different parameters to give movement to the sound. Many of the modes contain pitch modulation, these modes allow you to manipulate panning, and volume to create tremolo effects, as well as more un-conventional pitch modulation.

In Use: Empress finds these modes work both with subtle settings, or can work in short one bar bursts to create a fast auto-panning effect, or a chopped up tremolo sound. You might find yourself using them a lot in parallel modes with other modes.


Filter Delay

The filter modes apply both constant moving filters controlled by an lfo and dynamic filters that can track the volume of your playing in an auto-wah like effect.

In Use: These modes are very versatile, and can create some really unique sounding tails. Much like the mod modes they work great subtly blended with other modes, or in aggressive settings for a more dramatic effect.


Ambient Delay

The Ambient modes are a mixed bag of useful sounds for players looking to create smooth sound scapes.

In Use: These modes help achieve volume swells automatically and are great for lush parts. They also work well adding a subtle layer behind other delay modes when used in parallel. They work great at 100% wet.


Delay and Reverb

This classic combo is right up there with Peanut Butter and Jam. You've got to balance them just right, then the magic happens. You've heard this on every 80's recording, on every instrument, but that doesn't mean you should boycott it - with judicious use it's really musical.

In Use: Reverb and delay is great for solos. It's also a great combo for ambient stuff.


Reverse Delay

All sounds are cooler backwards. If you don't know how to play guitar really well, just turn this mode on and you'll impress people for a short time. As you may imagine, the circuit takes the incoming sound and chop it up into discrete sections and then plays back those sections backwards. It creates a crazy sucking sound.

In Use: It helps to tap the tempo to sync up the delay to your playing. It also sounds great at 100% wet setting.


Stutter Delay

These modes emphasize the sound that's last played and repeat it. There's various varieties that lend themselves to different situations. It's a lot like a delay with max feedback but you don't get the build up to distortion and the mess that goes along with that.

In Use: It's a really cool effect, and a lot of the settings sound really cool when you move around the knobs, or assign them to the expression pedal. They're awesome for a lot of on the fly manipulation.


Lo-fi Delay

This mode distorts, filters, modulates and destroys the sound! It can sound like an old radio, or busted up speakers, or partially working electronics.

In Use: The modes can be super vibey. They also work well as a texture in parallel behind a more pristine delay setting.


Whisky

Empress says they don't really know how you should use these modes, or if you should use these modes. They're the outliers, the odd-balls and the ner-do-wells of the pedal. You might like them a lot.

In Use: These modes are best accompanied by a dram of whatever you've got nearby.


Features:

• Input Impedance - 1M ohm
• Output Impedance - 100 ohm
• Output Impedance (transformer) - 600 ohm
• Frequency Response (-3dB, dry) - 10Hz – 50kHz
• Frequency Response (-3dB, wet) - 10Hz – 23.4kHz
• Total Harmonic Distortion (dry) - 0.09%
• Total Harmonic Distortion (wet) - 0.22%
• Dynamic Range (dry) - 106.9 dBA
• Dynamic Range (wet) - 105.5 dBA
• Input Headroom (dry) - +10.0 dBu
• Input Headroom (wet, no pad) - +0.5 dBu
• Input Headroom (wet, 6dB pad) - +5.7 dBu
• Input Headroom (wet, 12dB pad) - +10.8 dBu
• Output Headroom - +16.2dBu
• Power Input Connector - 2.1mm Barrel Connector
• Power Input Voltage - 9V
• Required Current - 300mA
• Height (enclosure only) - 1.75”
• Height (including controls) - 2.25”
• Length - 5.7”
• Width - 3.75”
• Weight - 1.5lbs