Echoplex Tape Delay
Designed by Mike Battle, the legendary Echoplex tape delay (later renamed the EP-1) was released in 1959 and set the standard for the effect in the 1960s. Today, the Echoplex is still regarded as the standard to which all other tape delays are measured. The Echoplex worked by recording the sound onto a magnetic tape, which was then played back. The tape speed or distance between the heads would determine the delay, while a feedback variable (where the delayed sound is delayed again) allowed for a repetitive effect.
The original Echoplex EP-1
During the 1950s, Maestro was a leader in vacuum tube technology. The original Echoplex units used these vacuum tubes to produce their signature warm, delay repeats. The Echoplex’s tubes meant it could also be used as a kind of preamp, similar to those found in amplifiers. By turning off the delay repeats, it added a rich, warm, full-bodied quality to the sound which guitarists quickly grew to love.
In the coming years, the Echoplex would go through a number of design changes. The Echoplex EP-2 saw the addition of an adjustable tape head, which allowed for variable delay, and a tape cartridge to protect the tape heads. The most significant change though came in the early ’70s when the vacuum tubes were replaced with solid state transistors. This revised unit would be known as the Echoplex EP-3. Original designer Mike Battle was not happy with this change though and subsequently sold his interest in the company.
The solid state Maestro Echoplex EP-3.
Eddie Van Halen was a notable user of the Echoplex EP-3 and it featured all over Van Halen’s iconic debut album. The opening riff of “Aint Talkin’ ‘Bout Love” demonstrates the EP-3 being used to add a quick “slap-back” delay, adding depth and texture to Eddie’s sound.