electro-Harmonix Canyon
The effects giant squeezes a range of delays into a compact pedal package, complete with looper. But how grand is the new Canyon?
The hi-tech delay with many selectable types has been around for a while and continues to be popular as each manufacturer brings out its own take on the genre. The latest take on the theme is by Electro-Harmonix who has come up with the nicely compact Canyon, featuring 10 different delay types and a looper selected by a rotary switch. It also incorporates a nod in the direction of the company’s delay legacy, with one of the 11 modes (DMM) being a recreation of the sound of its classic Deluxe Memory Man.
The delay is controlled via standard dry/ wet FX Level, Delay time and Feedback knobs. There are also a couple of hidden parameters available for each of the delay types, stored internally and dialled in by the Delay and Feedback knobs once you’ve entered Secondary Knob mode by holding down the Tap/Divide button. That button’s other use is to scroll through three different tap divisions (each indicated by the LED lighting up a different colour) relating to tap tempo set by the pedal’s footswitch, or by an optional external momentary switch. If you don’t want the pedal footswitch to operate as a tap tempo, that function can be easily disabled, while another available option is an internal Tails switch to set whether the delay cuts dead with bypass or fades naturally.
SoundS
Echo mode is as standard as it gets – it is digital delay, pure and simple, with each repeat a clone of the previous. Still, with up to three seconds’ delay time, there’s a lot you can do, from simple slapback to building layers of your playing. Mod mode takes the basic digital delay and adds modulation to the repeats, the secondary parameters of Rate and Depth being crucial in dialling in a sound that ranges from subtle fairy dust to nastily seasick.
The Multitap delay’s default role is to create a series of repeats that are all the same volume rather than the usual business of subsequent repeats getting progressively quieter – although a secondary parameter is available to set a rate for them to get quieter or to ramp up in volume, so you can go from silence upwards. With careful positioning, the Feedback knob can set a specific number of repeats, while Reverse mode is cool in that you can really ‘play’ it for a faux
backwards sound that works brilliantly with a fuzz box for a psychedelic vibe; guitar sensitivity to pick attack is available as a secondary parameter.
DMM mode really sounds like a BBD analogue delay and, like the original, you can add modulation by using secondary modulation Depth and Rate parameters. While the DMM has repeats that blend nicely into your guitar tone, Tape mode goes further with echoes that melt away: degradation, distortion and progressive loss of top-end are nicely recreated here and there are secondary parameters that can set the amount of distortion to emulate older tape and turn up the wow ’n’ flutter wobble factor. Verb mode offers repeats with simulated plate echo added, which gives a wash of further ambience, and pure splashy reverb is achieved by turning the Feedback knob to minimum.
The Oct setting is a draw for those who like something quirky, providing pitchshifted delays – each repeat going up an octave with control over the octave level by secondary function, as well as the option of bringing in a sub-octave. Perhaps more musically useful is S/H (Sample and Hold) mode, which senses guitar plucks and repeats them indefinitely until it detects the next pluck – great if you want to play a rhythmic sequenced part.
The Shimmer effect is implemented in many ambience pedals these days with upper octaves floating around like a string section. The Canyon’s take on it models a chain of four EHX pedals with delay, pitch shift and compression all in the mix. The result is lush backdrop of otherworldliness behind your playing. Finally, in Loop mode you get 62 seconds of recording time and your loop remains in the pedal’s memory even when powered down. It’s all controlled by the single footswitch, but you get all the standard functions such as overdubbing, undo/redo and erase.
VerdiCT
For a variety of delay types in a pedal that will fit neatly into a compact ’board setup, look no further. Grand? Most certainly. PROS Several delay types in a compact pedal; tap tempo; rudimentary but practical looper CONS Legending on the preset selector may be hard to see in an onstage environment