Signal Chain

  • Nashguitars T-63
  • Wampler Pedals Ecstasy
  • Wampler Pedals Faux Tape Echo
  • Fender Twin Reverb II
  • Aracom PRX150-Pro2
  • Orange PPC212OB
  • Celestion Vintage 30, 16 ohm
  • Royer Labs R-121
  • Avalon M5
  • Avid Digi 002
  • Universal Audio UAD-2 Satellite Quad Core

Signal Chain

  • Nashguitars T-63
  • Wampler Pedals Ecstasy
  • Wampler Pedals Faux Tape Echo
  • Fender Twin Reverb II
  • Aracom PRX150-Pro2
  • Orange PPC212OB
  • Celestion Vintage 30, 16 ohm
  • Royer Labs R-121
  • Avalon M5
  • Avid Digi 002
  • Universal Audio UAD-2 Satellite Quad Core

The Faux Tape Echo delay has become a staple in Nashville and beyond, from masterful session guitarists to studio "house sound" collections and of course seen on stages worldwide! Based around very carefully selected and very rigorously tested PT2399 delay chips, the Faux AnalogEcho and Faux Tape Echo circuits allowed Brian to combine the note clarity of a sophisticated digital delay with an all-analog dry path (unaffected signal) and magnificent all-analog tone-shaping and modulation circuitry.

 

What does that actually mean for musicians? The answer to that is "everything!" With our hybrid design approach, you get the best of both worlds. You get note clarity, lower noise, and longer delay times from digital delays. You get the lovely warmth and little, exquisite touches that are usually reserved for analog delays. Nearly every part of the pedal, all of its major functions, are analog. The "delay line" is the only digital part of the signal path. It alone being digital brings clarity and focus to the task in a way that analog delay line chips can't really match.

 

But everything else, all the absolutely vital filtering to carefully finish the sound is pure analog. Every aspect of the modulation that gives the Faux Tape Echo pedal a unique function and tone and makes it desirable for people who want their delay tone to sound as good as tape delay units but without all the maintenance, supplies, and hassle? Totally analog. Your all-important fundamental dry tone is 100% analog, too.

 

So when we say it's the best of both worlds, we absolutely mean it. From country slap-back to ambient washes to straight-ahead rock and metal delay, the hybrid approach lets Brian make one pedal that can do it all.

 

Still, we wouldn't be Wampler Pedals if we didn't listen to our users, artists, and dealers, and take into account feature requests... In this case, we'd have to plug our fingers in our ears if we were to ignore all the people shouting for TAP TEMPO! And let's face it, Brian Wampler wouldn't be who he is if he weren't always thinking of a better way to accomplish something cool, in this case a great sounding and more adjustable new modulation that will put the Faux Tape Echo's "Faux Tape Reel" into our most authentic territory yet.


This new version of the Faux Tape Echo takes everything great about the original, and adds to it that much-requested tap tempo functionality that users have asking for, as well as Brian's new idea in emulating the elusive and beautiful character that people look for in classic tape echo units. The time has come to unveil the Faux Tape Echo that everyone has been waiting for – and we've all worked hard to make sure you're going to love it!

•  Hand made in the U.S.A.

•  High grade film capacitors and resistors picked for their superior sound and response

•  Completely true bypass

•  Battery connection and 9v power jack (barrel plug like Boss) Please note: Battery not provided. Mains power receommended.

•  Power draw: 40mA

•  6 controls - echo level, repeats, shade, “movement and sway” and delay time

•  Does not just add a chorus effect to simulate tape wobble, this reacts to your playing perfectly

•  Does NOT mess with your basic guitar tone like so many other delay pedals

•  Analog warmth/tape echo tones

•  About 800ms of delay time available (signal deterioration is apparent after about 600m/s).

•  3.5" x 4.5" (88.9mm x 114.3mm)

Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio  clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.

For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.

For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.

I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)

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