Pedals

Alexander Super Radical Delay

  • By David A. Evans @tonereport
  • June 10, 2016
  • 0 Comments

The ‘80s seems to be the decade that simply won’t go away. Even with Gray’s Sports Almanac in hand, a person couldn’t have predicted that in 2016, Alexander Pedals would try to bring a little bit of the ‘80s back to the future. This time around, the company has introduced us to its Super Radical Delay, a pedal which incorporates a crystal-clear 920 millisecond delay with some iconic ‘80s modulation effects.

The Super Radical Delay is a delay pedal which offers users the opportunity to “massage” the delayed signal. But the pedal can also function as a modulation pedal independent of the delay function. So, if the Mix knob is cranked to the full “wet” setting while the Time knob is cranked down (no delay), the pedal will apply the modulation effects without any delay. Most people who buy a delay pedal will do so because they want delay, but it’s good to know that Alexander’s pedal can do a bit more.

Of the four modulation settings, Mod is the closest the pedal comes to straightforward delay: it’s clear, it’s there, and it’ll do the job for you if you’re looking for some slapback echo or some space-sounds for an extended jam session. However, with a bit of adjustment, Mod also produces a distinctly ‘80s, metallic-sheen chorus effect. Depending on the knob settings, the Super Radical Delay can add the chorus to the delayed or to the dry, non-delayed signal. Basically, the pedal will double as a chorus effect if need be.

Glitch mode operates like a bit crushing effect, which for the most part was fairly tame and glistening. But, if the Range is cranked up all the way along with the Repeats, the pedal will produce a wavelike sound that tends to break up as the trough of the wave is reached. It’s actually a pretty cool sound, even though my best description of it might be “sea lion barking.”

The third mode, Bend, operates as a pitch bender whose intervals can go from and octave lower than the inputted note to at least an octave higher. The repeats are reprocessed, of course, so if the first delayed note is shifted up one octave, then the second repeat of that same note will sound two octaves higher than the original note.