Review: Strymon EC-1 Tape Head Delay

No guitar pedalboard is complete without a delay, and there’s so much more to a delay than merely creating carbon copies of a source signal. For decades, it has been fashionable to run repeats through all manner of processing, be it modulations, distortions, pitch shifting, and most definitely, tape.

The Strymon EC-1 aims to recreate the charm of a vintage Echoplex tape delay to produce the familiar warmth and grit in a compact stompbox. In true Strymon fashion, every aspect of the EC-1 has been designed with fidelity as the highest priority. A high impedance Class A JFET preamp sits on the input to maximise sensitivity and responsiveness.

One could say the EC-1 is quite pared back by Strymon’s standards, yet it’s not lacking in tweakability. Aside from the expected Time, Mix and Repeats controls, the Tape Age and Mechanics knobs are where things get really interesting. A three-position Rec Level switch (Low, Medium, High) adjusts how hot the signal is going to the tape stage. The In and Out connectors are 6.5mm TRS (fully stereo-capable) and a third jack is for an extra expression pedal or MIDI. Another switch on the back of the unit determines the EC-1’s soundfield – Mono, Mono > Stereo, or Stereo. The power supply is not included.

The unit is lightweight but solid and finished in a beautiful blue/grey with vintage cream knobs. A single LED above the toggle switch blinks to display the tempo and turns blue when the pedal is in Tap tempo mode, which is entered by pressing and holding the footswitch. A range of other functions are accessed through various footswitch presses simultaneous with knob motions – see the User Manual for the full rundown.

CAPABILITIES

What’s impressive about the EC-1 is the vast ground it covers sonically. Setting the Tape Age and Mechanics to minimum with the Rec Level on Low yields the least amount of distortion – about as close the EC-1 will get to a digital delay. Treble frequencies are beautifully preserved. Clicking the Rec Level up to Med or High progressively adds harmonic complexity to the delay repeats. The difference is noticeable, with the level of saturation dependent on how hard you drive the input stage, but it’s not difficult to attain a gritty tube-like breakup on the High setting. Each Rec Level setting adds +6dB so you’ll need to use the Mix knob to compensate.

Tape Age emulates exactly what it says. Older rolls of tape tend to lose detail and presence across the frequency spectrum compared to new tape. Replicating this in a delay pedal means as you wind up the Tape Age knob, the delay signal increasingly tapers off in the low and high end. At its highest, the Tape Age knob is truly lo-fi and reminiscent of a transistor radio without any harsh edges. I enjoyed settings between 10 and 2 o’clock. Try rotating the knob until the ‘pokey’ highs are rounded out and the delay sits neatly behind the source tone without overpowering it. The result is a nostalgic, buttery tone that flatters all manner of guitar playing styles from rhythm to lead, clean to overdrive. Wind down the Repeats and Time for a tight slapback or go the other way for an epic delay suitable for soaring overdriven lead lines.

But there’s more fun to be had. Tape machines are complex pieces of engineering, and the many moving parts impart all kinds of (desirable) imperfections on a sound running through them. The Mechanics knob on the Strymon EC-1 is designed to replicate these auditory artefacts and introduce them in a predictable manner – from motor-induced wow and flutter to less subtle crinkle, splices and slippage. Strymon has struck a fun and usable balance here between accurate reproduction of these familiar imperfections and creativity-inducing playability for guitarists. Strymon has also weaved stereo modulation into the Mechanics control. Using the EC-1 in Mono > Stereo mode (with a Y-split cable) lets you effortlessly widen a signal as the Mechanics knob pushes the repeats further out into the soundfield with hints of chorus, fluttery phase-shifting, and the sort of dirt that creates a tasteful warm and vintage vibe.

NEED TO KNOW

PRICE

A$499
CONTACT

Amber Technology:
1800 251 367 or sales@ambertech.com.au
PROS
- Beautiful delay tones sculptable with Rec Level, Tape Age and Mechanics control
- Deep control via MIDI, expression pedal, or USB-C
- No pitch artefacts with tap tempo
CONS
- None
SUMMARY

The EC-1 Tape Echo puts Strymon’s is a fine example of everything we love about Strymon pedals – warm, authentic, analogue-style delay in a highly tweakable stompbox, with every aspect engineered to a high standard. Rich tape emulation, stereo possibility, and deep control options including MIDI and expression make the EC-1 a serious tape delay for modern pedalboards.

One could say the EC-1 is quite pared back by Strymon’s standards, yet it’s not lacking in tweakability

CONTROL

Uniquely, the EC-1’s tap tempo setting will not invoke wild pitch shifting as the delay changes repeat times. (Don’t worry – twiddling the Time knob still reproduces this effect.) However, it’s a nice performance-friendly assurance to know you can touch up the tempo with the footswitch without drawing unwanted attention. Enter Tap mode by pressing and holding the footswitch. Each quarter-turn of the Time knob dictates the tap division, from eighth triplet, eighth, dotted eighth, to quarter note.

Making use of the EC-1’s MIDI capability opens up your control options. Commands can be sent to/from the EC-1 to recall up to 300 preset slots, automate knob controls, and bypass the pedal. This MIDI functionality is available via both the 6.5mm MIDI/EXP jack or USB-C connector. An expression pedal can be used to control any of EC-1’s knobs – lots of possibilities here for creative live use. Note: configuring MIDI functionality with the EC-1 involves a series of ‘press and holds’ and button presses/knob twiddles in a precise order, so give the User Manual a careful read.

A less visible feature onboard the Strymon EC-1 is a secondary tube preamp emulation for more sonic variation. Pick between the original or modded preamp options, or bypass both, by pressing the footswitch while turning the Repeats knob. The LEDs indicate your selection. Preamp Boost can be adjusted using the same process but with the Mix knob.

Many of these features of the EC-1, particularly the control options, will be set-and-forget once the pedal is integrated into your particular setup. Rest assured, there’s enough flexibility built-in to ensure it’ll fit your rig and workflow.

PERFORMER

At its pricepoint, the EC-1 is for enthusiasts who care. Strymon is not in the business of cutting corners – this is a serious delay pedal with high-end electronics, a pedantic attention to sonic detail, and a heap of flexibility.

The EC-1 is a perfect do-it-all delay in a basic setup – I had it partnered with nothing more than a tube preamp/cab sim pedal and a reverb – however, to experience its true potential, especially if you’re a gigging performer, it’ll effortlessly integrate into a larger rig with MIDI control capabilities and peripherals.

The star feature of the EC-1 is, of course, its sound. Where many delays edge toward being too clinical or overly stylised, the EC-1 finds a sweet spot. It’s certainly a tribute to the tape delays of old, but it’s also a thoughtful, flexible, and musical tool that embraces the power and flexibility of digital. Under the bonnet lies an incredibly detailed engine that captures all the harmonic characteristics that make tape delay such a beloved effect while offering modern control conveniences like stereo I/O, MIDI, USB-C, and expression pedal integration. Strymon has once again raised the bar for what a stompbox delay can be.