TEST: Empress Effects Superdelay

Besides the reverb, the delay effect is one of the most popular room effects in the field of music, whereby I personally always prefer the delay on a guitar much more than the reverb effect live. While with a reverb FX you always fight against the room sound of the venue and in the worst case it leads to massive "mudding" of the sound, a well-dosed delay can ensure a comparatively good spatial expansion of your own sound even in disastrous acoustic conditions.

The selection of delay effects on the market is correspondingly large, both on floor pedals and in the 19-inch range, not to mention the vast numbers of multi-effects units, each of which has a delay effect in its presets. So what makes someone like Canadian manufacturer Empress Effects launch a floor pedal that deals solely with "just" an effect?

Well, echo is not just echo, as you will learn in the course of the test, you have the possibility to vary the simple repetition of a signal in the parameters sound, volume, number of repetitions, modulation and frequency filters manifold and to accommodate all this in just a small box. Here I notice already like the first of you interested listen up.


Construction:

Behind the Empress Effects Superdelay are the developer names Jason Fee and Steve Bragg from Canada, the country where the same device is also manufactured. The guitar signal is converted via a 24-bit AD/DA converter and processed internally on a 32-bit basis.

On the front of the unit, in addition to the input and output jacks and the connector for an external expression pedal, there is also the connector for the external power supply. The Superdelay processes all voltages between 9 and 12 volts, only a current flow of 300mA should have the power supply. There is no possibility to run the unit from battery!

All electronics are housed in a solid white steel case, the internal construction and all wiring is neatly laid out in circuit board fashion.

3 footswitches, 5 knobs and 4 multifunctional miniswitches control the manifold possibilities in terms of echo. Depending on the combination of the miniswitches and knobs, the Mode Specific miniswitch in particular has an enormous functional range.

Here are the primary functions of each knob and switch:

bypass switch: explains itself! It is a true bypass switch, a red LED gives information about the operating state of the device.

presets button: The device has 8 freely assignable memory locations, which indicate the selected memory location via small LEDs below the knobs. This button is used to skip to the respective preset. The sounds are stored via a small black push button, which is located next to the presets button.

tap button: This button is used to set the delay speed in real time or to specify rhythm patterns that the delay should play. A yellow LED serves as an additional visual control.

mix knob: the volume ratio between original and effect signal

d time / ratio knob: In the non-tap modes you set the regular delay time of the effect signal here, in tap mode you set the relative delay time to the tapped tempo here. For example, with the 2:1 setting, the delay time of the effect signal is twice as fast as the tapped tempo.

feedback knob: controls the number of times the echo repeats. If the knob is turned to the right, the effect signal gets louder with each repetition.

mode knob: sets the mode of the device (norm, tap, auto, rev, rhy, tape, misc, loop).

volume knob: adjusts the final volume of the device

exp pedal Miniswitch: controls the control range of a connected expression pedal. Selectable are the mix control and the feedback control respectively.

filter Miniswitch: here you can activate a highpass or lowpass filter, which affects the effect signal.

modulation miniswitch: a slow / fast modulation can be added to the effect signal with this switch

mode specific miniswitch: this switch (a/b/c) performs the following functions in combination with the mode switch (see above):



1.) norm a: normal delay sound, short echo - (5,5 ms - 95 ms)

2.) norm b: normal delay sound, medium echo - (45 ms - 800 ms)

3.) norm c: normal delay sound, long echo - (700 ms - 2200 ms)

4.) tap a: tapped tempo delay - echo delay is the same as the tapped signal

5.) tap b: triplet rhythm - echo delay is one third of the tapped signal

6.) tap c: quitolic rhythm - echo delay is one fifth of the tapped signal

7.) auto a: echo delay is based on the tempo of the input signal - low input sensitivity for quiet playing

8.) auto b: echo delay is based on the tempo of the input signal - medium input sensitivity for moderate playing

9.) auto c: Echo delay oriented to the tempo of the input signal - high input sensitivity for loud playing

10.) reverse a: effect signal is played back reversed - setting via rotary control d time / ratio

11) reverse b: effect signal is reversed - setting via tap button

12.) reverse c: effect signal is played back reversed - setting via the rotary control the tap button, effect signal is played back with double speed

13.) rhythm a: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible - d time / ratio knob scales the repetitions

14) rhythm b: effect signal is played back in the rhythm you have entered with your foot on the tap button, up to 4 repetitions are possible, d time / ratio knob stretches or compresses the repetitions

15.) rhythm c: effect signal is played back in the rhythm you entered with your foot on the tap button, up to 4 repetitions are possible, the first repetition is quieter, the following ones get louder

16.) tape a: emulation of a tape echo - high tape quality

17.) tape b: Emulation of a tape echo - first signs of tape wear in the sound.

18.) tape c: emulation of a tape echo - tape is in trouble ;-)

19.) misc a: the effect parts get louder when the input signal gets quieter

20.) misc b: the mixing ratio changes when the input signal gets quieter

21.) misc c: pressing the tap button turns off the effect signal

22.) looper a: loop function - up to 6,8 seconds sampling time

23.) looper b: loop function - up to 13.6 seconds sampling time

24.) looper c: loop function - loop is played back reversed


As you can see, the Superdelay has every imaginable use of the echo signal, at least I don't know of any other function that could still be implanted regarding a delay.



Practice:

Impressive how many functions the guys from Empress Effects have squeezed into the comparatively small box. Of course, this is not without a certain tightness on the control panel, but can be handled well in practice.

For all the joy of spaced-out sounds, should you not play on "Freaky Joe And The Space-Whimps From Hell", you will most likely reduce the practical live use of the echo effect to a few settings.

The number of 8 memory slots, which seems rather moderate at first, turns out to be completely sufficient in practice, especially since you can intervene in the respective tempos very well by means of the tap function, provided the drummer has appropriate timekeeping (joke at the expense of colleagues: "How can you tell that a drummer is standing in front of the door? Gets faster when tapping...! ;-)

Besides the classic applications, the Superdelay is also wonderfully suited for eccentric freak-outs on stage. Wild turning of the knobs, kneeling on the stage floor, optionally sliding, enriched with eccentric poses, is just as practicable with the Superdelay as its sober use as a very good working tool.

Like any good floor pedal, the Superdelay belongs on a protective floorboard, otherwise it would only be a matter of time before the first switches or knobs break off or otherwise suffer damage due to their protruding appearance.


Conclusion:

The Superdelay leaves a very good impression! Processing, sound and practicality are exemplary, the echo application area is globally covered. No modulation was forgotten, no style was neglected. A really nice boutique box.

Whether this diversity at the highest level is worth the comparatively high price, everyone must decide for themselves. You get "only" one effect, but at the best possible level.


Additional Informations:

Empress Effects: Revolutionizing the World of Guitar Effects

Empress Effects is a Canadian-based company that designs and manufactures guitar effects pedals. Since its inception in 2004, the company has been dedicated to creating high-quality, versatile, and innovative products that have earned a reputation among guitarists and music enthusiasts worldwide. Empress Effects is renowned for its range of effects pedals, including its multi-effects units, that offer a unique blend of modern technology and classic sound.

The company was founded by Steve Bragg, who had been experimenting with guitar effects since he was a teenager. Bragg started building custom effects pedals for friends and local musicians in his hometown of Ottawa, Canada. His passion for music and electronics eventually led him to create Empress Effects, with the goal of bringing his unique ideas and designs to a larger audience.

Empress Effects' Philosophy

Empress Effects has a strong philosophy that guides its product design and development. The company believes in creating products that are built to last, both in terms of durability and versatility. Empress Effects pedals are designed to be reliable, with solid construction and a user-friendly interface that allows for easy customization of the sound. This focus on longevity means that guitarists can depend on their Empress Effects pedals for years to come, without worrying about them breaking down or becoming obsolete.

Another key aspect of Empress Effects' philosophy is innovation. The company believes in pushing the boundaries of guitar effects technology to create new and exciting sounds. This innovation is evident in the company's product line, which includes several groundbreaking pedals that have set new standards in the world of guitar effects.

Empress Effects' Products

Empress Effects offers a wide range of products that cater to the needs of guitarists at every level. The company's pedals are designed to be versatile and easy to use, with intuitive controls that allow for precise tweaking of the sound.

One of the most popular products in the Empress Effects lineup is the Empress Reverb. This pedal is renowned for its exceptional sound quality and versatility, offering 24 studio-quality reverbs that can be customized to suit any style of music. The Empress Reverb also features a unique "Ghost" mode that adds a haunting layer of reverb to the sound.
The Empress Echo System is another popular pedal that has gained a loyal following among guitarists. This pedal offers a wide range of delay effects, including vintage tape delay and digital delay, that can be combined and customized to create unique sounds. The Empress Echo System also features a looper that allows guitarists to layer multiple loops and create complex soundscapes.

Empress Effects also offers several multi-effects pedals, including the Empress Effects Zoia and the Empress Effects Multidrive. These pedals are designed to provide a wide range of effects in a single unit, allowing guitarists to create complex soundscapes without the need for multiple pedals. The Empress Effects Zoia, in particular, has been praised for its modular design, which allows users to create custom effects and signal chains using a variety of modules.

Empress Effects' Awards and Recognition

Empress Effects has received numerous awards and accolades for its innovative products and dedication to quality. The company has been recognized by several industry publications and organizations for its contributions to the world of guitar effects.
In 2018, the Empress Effects Zoia was awarded the Best Effects Pedal of the Year by MusicRadar, a leading music publication. The Zoia was praised for its versatility and innovation, with the judges stating that it "opens up a whole new world of creative possibilities.“

Empress Effects has also received several awards for its other products, including the Empress Reverb and Empress Echo System.