Delta Labs Effectron Ii Manual

I have an effectron II, this unit has some interesing tones, and effects, especially the long modes and repeat.Not all effect units need to have full bandwidth for what you're after. But, I find it still useful on some tracks. This one has the hass effect stereo, that can be play tricks on your senses. It is junk by todays high resolution units and plugs, but it is a viable rack tool when you want somthing a little different. I can send you an MP3 with a song using the unit.

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Are you on ICQ? Or have a way for me to get it to you rather than e-mail. You will see how effective it can be.-Rick-Rick.

Depending on the max delay time you can do alot of things from flanging, chorus, doubling, and echo. Was a more affordable version of the Effectron - followed by the Effectron II finally the Compueffectron. I still have my effectron I bought new from in 1983 for $580. I always prefered the chorus in it to past items I've had like the PCM 42, SPX 90, and others. Delta Lab used ADM (Adaptive Delta Modulation) to digitize instead of PCM (Pulse Code Modulation). Anyone remember the DBX 700 2 trk processor which used ADM?You can learn alot from a simple DDL tweak and enjoy.

Last month I used my Effectron to show the folks down in the Avid editing room what I meant when I tried to explain they had 2 sources of the same thing recorded in peice they were working on.Took them to the audio room put up a CD, dialed in 2ms delay on the effectron and said 'this is the same source and the delay, this the sound your getting! Sound familar?' If you hear this when your working on audio stop and check your routing on the mixer you may find your sending two sources to the same place! Video guys.nice guys but sheesh they didnt think there was anything wrong at first until they heard the Effectron demo!Happy flanging. Click to expand.Very true Rick. In fact full bandwidth for delays, etc.

Is usually counterproductive. It just means more frequencies to compete with the original.

I'm very often eq'ing the sends to slaps (delays) and chambers (reverbs) in addition to lowering the lo-pass filters on the verbs and delays, and the same with lowering the lo-pass on regeneration. One reason tape delay worked so well was that each successive repeat was darker and thinner than the previous one.If you picked that unit up cheap, I say good score. It's a bit of a two trick pony, but that'll free-up/compliment other fx units you have.

I wish I could find an old magazine ad with the whole line in here. I think they used some of the same boxes with different names on them as they went a long. The Effectron with 1024ms at some point might have been designated the Effectron II. I believe the Effectron III is the programmable one (had about five radio button presets on the front panet) and then there was the brownface Effectron JR, which was a bit more barebones.

I have a dead Super Time Line somewhere too.I also have the touchpad programmable one, the CE-1700 Compueffectron. A total pain in the ass to program, ESPECIALLY without a manual, but it sounds pretty cool. I wish it had knobs though.Roger.

That's right rodgre,the effectron II has the programmable buttons with the infinite repeat button. I also have the super timeline but havn't used it much yet. The effectron II is great, easy to use and sounds incredible for something you can find used for under $100. Actually between the deltalab stuff that i have i don't need to get that pcm41 or 42!i've heard good things about the timeline, i'm just waiting to get my patchbay finished so that i can connect everything and test mine out.thanks,todd. Okay, I have the Effectron I (ADM 1020), II (ADM 1024), and Super Time Line (ADM 512).

Deltalab Dgfx1 Review

I would never part with these units.The 1020 simply has Input, Feedback, 2 selections for delay/flange choices, Modulator (modulator delay width and speed), and Output Mix.The 1024 has Input, Feedback, 6 selections for delay/flange, 1 Infinite Repeat button, Feedback Factor, Modulator (Width and Speed), and Output Delay Mix.The 512 is the programmable one. It can store 4 settings and the rest of the features are the same as the 1024 (with the exception of programming-of course).I use the 1024 most out of all of them. It was the first one I bought and it happens to be the one I always use. The 512 are a bit harsher than the 1024 and both can't be pushed too far but the 1024, for being a digital delay, sound a smidge better than the 512.

The 1020 are good but I find that the 1024 dial in specific delays much better. I use the 1024 for vocal splitting all the time.

If I have an order to things it goes 1024, 1020, and 512 regarding preference.Hope that answers your question.-Adam Lazlo. They made TONS of these.The model numbers generally dictated maximum delay times. There was an ADM 64, an ADM 256, an ADM 512, an ADM 1020, an ADM 1024 (the most common I've seen), and the ADM 1030, which had the memory buttons. I'm not sure what designated them Effectron I, Effectron II, or Effectron III, as I've seen similar models with different monikers.

But these were all blue. And a really cool-looking blue at that.They made a few versions of the Effectron Jr (not sure how many) which had a brown faceplate. I'm not sure what the electrical and/or design differences were.They also made the Super Time Line series, which had a few different models. Most of the ones I've seen have had longer delay times, including the 2048. These had the memory settings as well and dark grey faceplates. I know that the Super Time Lines had an unbalanced input and a TRS output that when used with a 'Y' cable, split the output into a weird left-right matix, where the output was sent to a crossover and everything below (I think about) 500Hz went out both equally (mono) and everything above had some sort of phase-shifted thing going on that widened the stereo imaging above the crossover frequency.I also stumbled across a really unique box recently, about which I wrote a review for next month's issue of TapeOp. It's a DeltaLab ADM 465, which is a one in, three out unit for delaying speaker arrays.

It's dark grey and you can read about it in the review.They are FANTASTIC simple, flexible, easy-to-use delays that are a bit noisier than the Lexicon units of the same period. I own a few and wish I had more. I also wish that they had made a stereo unit, but oh well.

I also probably won't get any more if people keep talking about them and the prices go up. So let's all join in and not pay too much for one of these! Speaking of which, anyone wanna buy a Level Loc?Chris GargesCharlotte, NC. I love the effectron. I have been telling people about these for years, I am glad they are finally getting the props they deserve!I have three effectron II's these days and a brown effectron Jr.The effectron Jr distorts a lot easier, and the 'limit' light says 'wink' instead of limit like on the II.The bass 'problem' i think is specific to your unit, as mine is not the most hifi thing, but isnt 'thin'.I really, really love these.

For the way I use delay, these have almost always been my first choice. Another great cheap delay is the Electrix Mofx.

It isnt old enough to be 'cool' yet, but neither were the effectrons in 1992.I used to use an 'acousticomputer' but deltalab just made the effectron II right. It sounds the best, and has a simple, intuitive interface. You can really 'play' these delays.

I like the way they distort A LOT. I use it on vocals with all the buttons out and on 'source' just to hit the diode across the input. Lowpass that sucker, and the voice just pops!

Cgarges wrote:They made TONS of these.They also made the Super Time Line series, which had a few different models. Most of the ones I've seen have had longer delay times, including the 2048. These had the memory settings as well and dark grey faceplates. I know that the Super Time Lines had an unbalanced input and a TRS output that when used with a 'Y' cable, split the output into a weird left-right matix, where the output was sent to a crossover and everything below (I think about) 500Hz went out both equally (mono) and everything above had some sort of phase-shifted thing going on that widened the stereo imaging above the crossover frequency.Chris GargesCharlotte, NCI think they made a Timeline, and then a Super Timeline (longer delay I assume). Or I'm smoking crack again. Doesn't matter, they all kick ass. Negative feedback, modulation, fun.The simulated stereo thing mentioned above is a pretty neat function.

The super Timeline also has a feedback insert. Using a standard insert cable (send/receive like on a mixer insert) you can put other effects, etc. In the feedback loop of the delay. I am glad people are on the distorting effectron tip as well. I have a 64, which is basically a slapback delay/flange.a must in the vocal chain. For music that can take really affected vocals i use it as an insert and take advantage of that bity distortion.

The flange aint bad either. It no analog flange be, but it sure sounds cool.an interesting side note about the deltalabs is that the digital converters encode in a totally different way.

Using delta modulation instead of pulse code. Whatever the fuck that means, i dont know.

But it seems to give the units a really pleasing sound that distinguishes them from other boxes.