Life is analog...... So is sound!

{{trans:3fe373ceb2a0046e347a3c6dfe6af1c1_1}} image{{trans:3fe373ceb2a0046e347a3c6dfe6af1c1_1}} image{{trans:3fe373ceb2a0046e347a3c6dfe6af1c1_1}} image
Before the invention of audio delay technology, music with a delayed echo had to be recorded in a naturally reverberant space, which was often inconvenient for musicians and engineers. The popularity of an easy-to-implement real-time echo effect led to the production of systems offering an all-in-one effects unit that could be adjusted to produce echoes of any interval or amplitude. The presence of multiple “taps” (playback heads) made it possible to have delays at different rhythmic intervals; this provided musicians with an additional means of expression for natural periodic echoes. Tape-based.
Many delay processors based on analog tape recording, such as Ray Butts’ Eukson (1952), Mike Battle’s Echoplex (1959), or the Roland Space Echo (1973), used magnetic tape as their recording and playback medium. Electric motors guided a tape loop through a device with a variety of mechanisms capable of altering the parameters of the effect. In the case of the popular Echoplex EP-2, the playback head was fixed, while a combined record and playback head was mounted on a slide, allowing the echo delay time to be adjusted by changing the distance between the record and playback heads. In the Space Echo, all heads are fixed, but the tape speed can be adjusted, thereby changing the delay time. However, thin magnetic tape was not entirely