Read the review: http://www.premierguitar.com/articles/24604-ibanez-analog-delay-mini-review
I love analog delay unabashedly. Along with a good fuzz, it’s probably the only effect I couldn’t live without. Over the years I’ve put up with the hassles of maintaining a Maestro Echoplex and a less-than-optimally-space-efficient Deluxe Memory Man to indulge my analog echo fixations. So when cool compact analog delays like the Carbon Copy, MF Delay, and DM-2w hit the market at reasonable prices, I rejoiced. Ibanez’s new Analog Delay Mini takes those reasons for celebration—low price and small size—to even more affordable and tinier extremes. The even-better news? It sounds fantastic.
I don’t know about you, but once I get over the cuteness of tiny pedals, I start to imagine accidentally crushing them in a state of performance overzealousness—or worse, turning an ankle stumbling over one in some spectacular stage injury incident. The AD Mini is still small enough to feel unsteady underfoot if you don’t have it securely Velcroed or otherwise tethered to a board. But you can forget about other incidental damage. The Japan-built AD Mini feels as tough and solid as brass knuckles. The only points of vulnerability might be the small knobs used for the repeat and mix controls, although they are basically quite sturdy. Mostly the little Ibanez feels destined to last as long as one of its tough-as-nails forebears.
Bucket-brigade-driven analog delays looked like an endangered species when big manufacturers of BBD chips started to wind down production. Thanks to companies like Coolaudio, though, good BBD chips are available again, enabling reissues of classic delay and modulation circuits as well as entirely new devices. Coolaudio’s work helps drive the AD Mini in the form of V3208 BBD chips. But while these chips are found in many new analog delays, that doesn’t mean the AD Mini sounds just like the rest of the pack.
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