Description The Effectron was part of the first wave of digital gear to hit studios in the early 1980s. RAM was super-expensive so many units had short delay times and were designed for chorus, flanging, phasing and doubling.
The Effectron II ADM 64 is a prime example of this Deltalab was part of the booming Massachussetts hi-tech audio industry of the 1970s and 80s along with the likes of Lexicon & Bose. In 2016, Akamai, Analog Devices, B&W and THAT Corporation are prominent Mass manufacturers Founder of Deltalab, Richie DeFreitas, holds a number of patents for “An electrical system of the type in which a digitally encoded signal is determined at least in part by the difference between a present value of an input signal and a reference signal representative of a past value of the input signal”.
Otherwise known as Delta-encoding, this was one of the key technologies enabling digital audio In use, Effectrons are quirky, entertaining devices with lots of character. By varying the modulation depth & speed it can produce effecst from a slow phase, via a deep flange and a warbling chorus right through to a pitch-bending, gargling, modulated delay. They have a unique sound and definite mojo The 256 model has 256 mS of delay time enabling longer delays and more complex effects than the ADM 64 in another of my auctions. But either will do the killer flanging & phasing effects that Effectrons are famous for.
Deltalab Ct10
It’s hard to describe the difference between an Effectron and, say, a Lexicon PCM42 but if you had both in your effects rack you’d head off in a different direction sonically with each one. The result with the Effectron would be madder than that with the Lexicon – which explains why I like them so much Hail the Effectron!
![Deltalab ct10 Deltalab ct10](/uploads/1/2/3/8/123808504/112076474.jpg)
“OH man, I have stumbled upon this wicked awesome unit i think this piece is amazing” “Great thing about effectrons is playing the knobs as your track is printing especially for weird modulation stuff think bauhaus’ “bela lugosi’s dead” or reverend horton heat’s “gin and tonic blues” and you’ll get it LIQUID, baby = effectron” “Good sounds, it’s digital, but in an analog way! The modulation is off the hook crazy” “I don’t know about the differences, but those old DeltaLab delays sound GREAT, at least if your idea of “great” is “warm and funky” rather than “completely accurate”. I’ve used one for years. Lots of aliasing noise and bandwidth limitations, but it’s in no way cold or uninvolving” “Deltalabs units use delta modulation istead of the usual PCM method of encoding/decoding.
They definitely sound different!” “If you cannot come up with an interesting effect on this box then just get out of the business” “Good clean sound? Good clean fun?
Every studio should have at least one. Imparts a vibe that a plug-in certainly can’t” “The unit makes a great flanger, excellent chorus and a great freakout anti-music device” “The EFFECTRONS Rule! I have all 3 and the amount of creative sound you can derive from them is intense. HAIL THE EFFECTRON!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! “Effectrons are just plain cool”. Owners Manual Deltalab Timeline manual (simiar product) Harmony Central 4 Star ★★★★ Review Youtube demo (of similar Effectron II model with more delay time) Youtube demo (of similar Effectron II) Youtube demo (of similar ADM 1020) https://www.youtube.com/watch?v=ezVIyWX0RVA.
In good used condition. Some case scratches and chips on the edges of the front panel but otherwise very good. Original knobs still fitted.
Tested & working 100% Vintage gear All vintage gear will have case scratches and marks. It may also have, or develop, noisy pots and switches. I make my descriptions as accurate as possible and note any existing defects. I test each item before shipping, and and supply a test sheet, but please understand that vintage gear will not be perfect and adjust your expectations accordingly Related products. Sold Out. Sold Out.
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The Deltalab Effectron II ADM 1024 is a digital delay unit, of which I'm not sure what types of connections the 1024 has as the one that I have used was already racked up in the studio that I used it. The 1024 is cased in a single space rack mountable unit. UTILIZATION I don't find that using the Deltalab Effectron II ADM 1024 is too hard as everything is straight forward. You've got parameters for (left to right) level, feedback, delay rate (ms), delay factor, width, speed, and delay mix.
Getting basic tones is quick and easy, although this can get pretty in depth and I did find that it took a little while to discover all of the possibilities that this versatile piece of gear has to offer. This being said, I don't believe that a manual is necessary unless you are a beginner.
SOUND QUALITY The sounds heard from the Deltalab Effectron II ADM 1024 aren't the warmest sounding delays that I have heard, but its versatility and clean tone more than makes up for it. I find that this is a great delay for both traditional delay tones and for experimentation. I've used the unit on all sorts of instruments and applications including electric guitar and vocals, both of which turned out to be a great fit for the 1024. I don't think that there are any applications that I wouldn't recommend at least trying this out on, as it has the capability to cater to all sorts of different sounds. Even though this is a digital delay that I don't find incredibly warm sounding, it also doesn't come off too digitally enhanced either.
OVERALL OPINION Overall, the Deltalab Effectron II ADM 1024 is one of my favorite sounding digital delays. It is capable of getting so many different types of delay tones and is incredibly easy to use. I'm not really sure what type of price this usually goes for as the that I have used was in a single recording studio location.
If you're looking for a really cool sounding digital delay that isn't like all the rest of them out there, the 1024 is definitely something that you should consider.
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.
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). 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 Garges Charlotte, 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 Garges Charlotte, NC I 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.
. User’s Manual Bass Multi - Effects Pedal. Important Safeguards To prevent fire or hazard, do not For your protection, please read these safety WArNINg expose the unit to rain or moisture. Instructions completely before operating the This symbol is intended to alert the user to appliance, and keep this manual for future the presence of non-insulated “dangerous reference Carefully observe all warnings, voltage”. Table of Contents Introduction. 3 Main Features.
Power Supply To avoid damage, please make sure that all power devices (such as amplifiers) are turned off before connecting the DBFX1. If an AC adapter is used, it should be unplugged from the AC outlet if the instrument will not be used for an extended period of time. Do not expose the DBFX1 to excessive sunlight or moisture. Cleaning Clean the DBFX1 with a soft, dry cloth. To remove more stub- born dirt, use a slightly dampened cloth with mild detergent. Never attempt to clean the DBFX1 with thinners or alcohol. User’s Manual Front Panel TYPE/PARAM/VOL Knob EFFECT SELECTION Knob Adjusts effect type, parameters, Selects the effect and various and volume.
PATCH +/– Foot Switches STORE Button Selects patches, switches ef- Saves your settings. Fect modules on and off, controls tuner and other functions.To prevent malfunction and/or damage to speakers or other devices, always turn down the volume of the DBFX1 and turn all devices off before connecting cables. If you turn on the DBFX1 while the amplifier is already powered up, damage to the speaker may result. Always turn amplifiers off before connecting cables.
User’s Manual Power Supply Connect all cables. Switch on the DBFX1. After the power is on, the LCD will display “DBFX1” followed by any previously saved patch and effects chain. Powerpoint.en-us pptlr.cab download 2013. Patches NOTE: The unit has up to 96 patches: 48 default settings (0–1 and 7–6), and 48 user patches (A–1 and H–6). Bass Multi - Effects Pedal Press the PATCH +/- to select the PATCH. Press and hold PATCH +/- again to change patches. The screen displays the current patch number (1–6) with the relevant tone name and effect chain.
Patch Function Press the BANK–. User’s Manual Then press BANK– and BANK+ Press simultaneously to disable the simultaneously patch function.
The ‘P.FU’ symbol will disappear. Factory Reset NOTE: The 48 user patches start as duplicates of the 48 default patches. Turn off the power. Hold down STOrE and Buttons simultaneously, then turn on the power. The LCD will display ‘TUNEr’. This also bypasses all effects. NOTE: You can tune your bass strings without the DBFX1 producing any sounds.
Hold the two switches longer to enter the MUTE tuning mode. The LCD will display ‘MUTE’. User’s Manual Drum NOTE: The DBFX1 has a built-in rhythm function that plays realistic drum sounds. Dial the TYPE/PArAM/VOL knob to PLAY, press the button, and the PLAY indicator will light up. Press the TYPE/PArAM/ VOL dial to adjust these parameters: rhythm pattern, tempo, and rhythm volume. NOTE: The first tap of the TAP button will show the current tempo value on the LCD. The DBFX1 will then automatically detect the interval of the second and subsequent key-presses, setting the tempo accordingly.
User’s Manual Master Volume While in PLAY mode, rotate the TYPE/PArAM/VOL knob to adjust the master volume. The range is from 0 to 100.
The default level is 70. Expression Pedal The pedal controls volume when the light is off.
When the light is on, you can use the pedal to control the wah effect as a default or one. Bass Multi - Effects Pedal Expression Pedal Functions The expression pedal controls various parameters in real-time.
To select which parameters it controls, make sure the EFFECT SELECT knob is at PLAY mode. Press the TYPE/PArAM/VOL knob, until “EXP” is displayed. To select the parameter, rotate the TYPE/PArAM/VOL knob: DISPLAY FUNCTION. User’s Manual Storing Programs After editing any of the effect programs, press the STOrE button to save your custom program. The tone number and the patch name will flash on the display. You can select the tone that you want to store by pressing BANK+/- or PATCH +/. Bass Multi - Effects Pedal Selecting Effects DBFX1 patches are made up of 11 linked effect modules as shown in the illustration below.
You can use all effect modules together or individually. Effect Module NOISE COMP. SPEAKER MODULATION DELAY REVERB. User’s Manual You can dial the TYPE/PArAM/VOL knob to adjust the desired effect. If the EFFECT SELECT knob is not set to PLAY, the unit is in edit status. The EDIT symbol will be displayed.
Parameters Adjusting Parameters All parameter adjustments are performed by dialing the TYPE/PArAM/VOL knob. Bass Multi - Effects Pedal Noise Gate NOISE gATE eliminates noise below a certain threshold. It is most useful when not playing, completely eliminating noise, hum, and crackles. It does not affect the overall color of the tone.
Parameter 1 sets the signal strength (threshold) required to enable or disable the noise gate range from 0 (opens easily) to 100 (opens with a stronger input signal). User’s Manual The wah effect creates a unique tone by filtering frequencies via the expression pedal. Range: 0–100 (except for polarity, which will be displayed as Up or Down). Type Description PARA 1 PARA 2 PARA 3 Name Display Auto Wah T.Wah Auto Wah Sensitivity. Bass Multi - Effects Pedal Description Stomp PARA 1 PARA 2 PARA 3 PARA 4 Type Display The DeltaLab Preamp DeltaLab DLPRE Level boosts the lows and Preamp highs yeilding a defined, rich sound Models DeltaLab DeltaLab Tube TUBED Drive. User’s Manual EQ shapes the bass, low- midrange, high-midrange and treble tones of the output signal. Range of bass, midrange, and treble: 50–50.
Range of mid-freq: 0–100. Type Description PARAM PARAM PARAM PARAM Name Display Equalizer Adjust the tonal High High quality Speaker. Bass Multi - Effects Pedal Modulation Contains different effects, such as Chorus,. Phaser, Flanger, Pitch Shifter, Vibrato, Auto riff, ring, Modulation, and more. The Chorus effect combines the delay time and. amplitude modulation to thicken and add shimmer. Phase effect creates a whooshing and swirling.
User’s Manual Delay DELAY functions like an echo effect. You can adjust the. delay time (the time between echoes) from 10 milliseconds to 4 seconds, the feedback (the volume level of the echo), and the level of effect. Type Description PARAM PARAM.
Bass Multi - Effects Pedal Individual Effect Bypass Press the PATCH+/BYPASS switch, the effect is bypassed. Press the PATCH+/BYPASS switch one more time to turn the bypass function off.
User’s Manual Specifications AD Conversion Controls 32 bit, 64x oversampling Store button Back +/- button Tap button DA Conversion button 32 bit, 128x oversampling Effect Selection knob Type/Param/Vol knob Sampling Rate Patch +/- foot switches 48kHz Expression pedal Power switch Display 5 characters (backlit LCD) Weight. Bass Multi - Effects Pedal Warranty One (1) Year Limited Warranty and Remedies. Subject to the limitations below, DeltaLab™ warrants to the original owner that the components of this product are free from defects in workmanship and materials, subject to normal use and service, for one (1) year from the date of purchase.