ATBL delay question

[dirtycooter]

My point is whats in the DECO vid.

When they talk about "Lag Deck" and "saturating" by slammin tape harder.
This extra mono voice can be panned anywhere even directly over top of the main track.
Maybe the lag deck is the sole feed to the reverb in the studio where I always harp on that "predelay" effect?
Nobody seems to latch into my post on this pedal here. But there is plenty of extra overdrive and fir to add to the main tone here with the saturation and its highlighted the amount at which it coulda been. Its fairly substantial. And we know for a fact they were usin tape without a doubt and thats just a given.

The discovery of the echoplex pre was awesome. How would one fanagle a tape overdrive in an analog pedal?
The strymon is digital here but sounds pretty cool as an example. Is this the stuff they used that made Ed sound the way he did? That extra gain?
I do know this
I spend alot of time thinkin about things from an engineers perspective and the known techniques they used with the type of gear they had. I try and find ways to replicated this stuff with the gear I got. See how I can get close to maybe recreating the main elements and methods.
Using a plate simple normal set reverb in my processors and only feeding it a dirty 100ms slap from the echoplex model in my line 6 echopark is really marvelous sounding. As cheesy as that pedal is it does a killer slap. Maybe because it mimics that saturated lag deck feed?

[Santino]

Not true about having to have the echo "in front". That is completely false.
The serial cascading delay can be done all "post amp". But.... most do not have the elaborate rig to make this happen. Its an engineering detour, but it can be done.
Actually to make it simple all you need is any dual delay with crossfeedback between the two delay lines and a line mixer as simple as the rjm mini mixer.
Dual delays such as the timefactor cannot do this on their own. All because a lack of the "cross feedback" ability.
Timeline from Strymon can do it though. Better control can be had with MPX1, g-force, DL8000, PCM multi tap delays, etc. Otherwise you need a mixer, that has an aux and seperately adjustable sends-one for the dry and one for first delay, and a pair of mono delays so one is in the aux and one is running parallel to the dry on the mixer channel inputs. Dry and first delay require seperate aux send levels.
Also note not every delay out there sounds good or correct for a slap at 100ms. Full thick delays with some top and bottom crafting of frequency rolloff is a good place to start. And the serial cascade trick only works panned to the same place mono.

If you want that chunky delay tone like Ed got you need a delay in front of the amp. Think an analog tape delay will sound like that through an effects loop? I found only in front of an amp sounds right.

Garbeej put that Memory Man in front of the amp and the other delay in the loop. I don't think think a second delay is really necessary. Listen to the live official vid they did for Dance The Night Away. One delay unit and it's his tone. I know there's a possibility he had a load box and the delay was added after the amp somehow. But I've heard how it sounds in front and I think that's how he did it.