MXR Carbon Copy (and Way Huge Aqua Puss) question(s)

solar

Hi folks! Long time no post. Hope you're all well.

I have a question for you Carbon Copy owners. But it requires a bit of rambling backstory. Bear with me.

A few weeks ago, I bought a Way Huge Aqua Puss. I'm using it for rockabilly-style quick single-repeat slapback delays. I was fairly happy with it, until...

I got a new guitar that had a humbucker in it. I noticed some really weird, unpleasant noises coming out of my rig. I narrowed it down to the Aqua Puss. With the volume backed off (or using my other guitar with singlecoils), the effect is exactly as you'd expect - nice and dark, decaying analog delay. But with a hot signal running into the pedal from a humbucker, the delay repeats clip in a really unpleasant, fuzzy way. The dry signal is nice and clean, but the repeats just sound like farts. I assume this is the same when there's an overdrive in front of the Aqua Puss, but it's less noticeable because the dry signal is distorted too.

At first I thought the pedal was broken, so I took it back to the shop and they A/Bed it with another Aqua Puss. It was exactly the same. The explanation given was "well, that's what it's supposed to do". Having done a bit of research online, this does seem to be a common problem with the pedal. It's great with low-level signals, but clippy with hot signals. Sad times.

So, I've sold the Aqua Puss. And now I want to buy something else to replace it.

The current top contender is the Carbon Copy. But, if I understand correctly, the CC was designed by the same chap who designed the Aqua Puss. So, my question is this: does the Carbon Copy exhibit any nasty clipping problems with hot signals?

I suppose a secondary question might be "can anyone recommend another similar pedal for slapback delay?". I'm open-minded, but I'm fairly happy with my Carbon Copy choice, I think. Unless it's also similarly broken, of course.

Thanks!

mike_l

Can't comment on the CC, but the Visual Sound Axle Grease is a nice analogue voiced delay, which plays nicely with 'buckers.

EricTheWeary

Any opportunity to use delay via an FX loop? Shame about the Aqua Puss, they often get recommended for slap back. Most analog/ analog voiced delays will get farty to some extent on multiple repeats, depends if what you hear as fart someone else hears as charming olde worlde delay characteristics or it is genuinely faulty. I only ran my CC with a Strat , no problems but it tended to disappear a bit. Might be worth borrowing ( if you can) something like a TC Flashback to hear different types of delay then buy a pedal ( if not a Flashback) that nails the type you like?

monquixote

I've had both and don't remember either clipping (though I don't play at epic levels). 

One thing I would say is that the Carbon Copy is much darker than the Aqua Puss to the point where I didn't really get on with it.

daveyh

I have a CC, using it with my Ravelle which has the SD JB/Jazz combo and have heard nothing like that.

slate

For slapback you want a boss DM3 - brilliant pedal .almost identical sounding to the dm2 (repeats are a tiny bit brighter) and half the price. I run one almost exclusively with humbuckers and have never had a problem even with distortion in front of it. check out the gretsch forums for glowing feedback .
Or you could wait about 3 weeks and buy the dm2w....

musteatbrain

If you want to hit delay pedals in front of your amp with a high signal you may be best going digital. I have had headroom problems with both the aqua puss and the cc. There are a lot of great sounding digital delays now with the main signal remaining analog. I still have some great bucket brigade delays, but use the el capistan when I need more headroom. It sounds excellent even to a luddite like me.

noisepolluter

Keep an eye out for a second hand RE-20 Space Echo maybe? I've A/B'ed it with a big box Deluxe Memory Man and, apart from the modulation (Space Echo has a fixed amount of 'warble'), you can pretty much replicate the sound (pun slightly intended). Just select the first tape head setting and roll off the treble. Plus you've got the option of longer, brighter sounding delays and multi tap if you ever need them, and you can also run it off a 9V daisy chain. DMM tends to stay at home now. 

I'd say the one annoyance is that the input gain control (which can be used to dial in grungy saturation-type effects) is still effective even when the pedal is switched off - it's effectively an always-on buffer with a volume, though I've actually found this handy for keeping valve amp volume levels under control at home. All the same, it seems either a daft oversight or an unnecessarily slavish reproduction of the original (see also: toilet-sounding spring reverb effect).

 

JDE

The CC has a higher threshold for input gain than the AP, so it doesn't clip as easily. However, the CC is (for me) a little too dark for rockabilly slap. Personally if all you're using it for is a single slapback, the Boss DD-3 is great (and cheap, if you buy used!).

If it must be analog, the Ibanez/Maxon AD series has enough headroom to not clip and sound great for slapback. If you want to get a bit more spendy, get an old DM-3, but try and check if it has enough output for you - some older Boss analogs struggle to get to unity volume.

noisepolluter

Just noticed someone's (not me) selling a 'small box' DMM XO on the classifieds. I don't know if that has a gain control like the older version, but I'd definitely check it out. If the circuit is basically the same as the big box model, then it'll absolutely amazing for slapback. 

I've certainly not had a headroom problem with the big box DMM - with humbuckers the overload light will come on fairly quickly, but there's quite a margin between the light coming on and the delay signal noticeably clipping unless you've got quite hot pickups. It'll start to compress a little bit before then.

mike257

I'm running a CC in front of the amp with a smoking hot output Edwards LP and a more moderate Tele, sounds lovely with both.

I'm considering selling mine (only because I've got no cash for much needed mics for my live sound rig and can probably get by with just my Deluxe Memory Boy) so if you do decide you fancy one drop me a line.

Keefy

Couldn't find an introductions section, so forgive me for weighing in with my first post!

The Boss DM3 is known for having a very effective compander circuit - the guitar signal is compressed before the BBD chip, and its dynamics are restored again on the way out. Not all analog delay pedals are as good at doing this!

I have both a DM3 and a Carbon Copy on my pedalboard, and neither of them seem to mind being hit with a hot signal from a Les Paul or PRS. I briefly owned an Aqua Puss, but I think I only got round to using it with lower-output guitars, so I can't comment there.

There are also quite a few 'analog-voiced' pedals around that use the PT2399 or similar digital chips (e.g. Danelectro), and these definitely don't cope well with hot signals.

Ché

My RE-201 does slap back really well...
:P


I've owned CC's, akai headrushes, TC Flashbacks and T Rex Replica's...

For quick repeats the digital pedals do work nicely and have great headroom for hotter signals. Their analog emulations are also very believable but if you need an analog pedal I'd echo the idea (see what I did there) to put the delay in your effects loop. Even better if it has a level control.

If you like Aqua Puss, check out the Supa Puss. Not only does it have tap tempo and time divisions there's a level for input gain.

solar

Thanks all! I think I might be swayed by the digital argument.. keeping a close eye on eBay!

solar

Just in case anyone felt they needed closure on this thread.. I picked up a bashed old DD-2 on eBay for about £40. Perfect! http://imgur.com/9cINHi4