The Audio Playground Synthesizer Museum

ROCK HARD Inc.

The Plex

The PLEX Story By Chris Gill There are few musical experiences as satisfying as plugging an Echoplex between a guitar and an amp. From snappy slapback echos to cascading flurries of notes to riffs that bounce off of each other in perfect rhythm, the effects created by an Echoplex provide infinite creative possibilities. Several guitarists such as Jimmy Page with Led Zeppelin and Brian May of Queen have used the Echoplex to create dazzling sounds, using the unit as musical instrument unto itself. Although dozens of analog and digital delay units provide similar effects, none of them sound quite as warm and musical as an Echoplex. A great part of the Echoplex's appeal is that it relies more on mechanical engineering instead of electronic components. A motor is used to rotate a loop of tape that runs over a recording head and a moveable playback head. The rate of the echo is changed by moving the playback head to the desired position: if you want a faster repeat rate simply move the playback head closer to the record head, and if you want a slower repeat move the playback away from the record head. The concept of using a loop of tape to generate echo-like effects was developed in the 1950s. Previously, several musicians and recording engineers, including Les Paul, had created echo effects by using two separate tape recorders running out of synch. During the late Fifties several commercially available units appeared on the market that allowed musicians to duplicate on stage the effects engineers created for them in the studio. Although the first Echoplex did appear on the market until the early 1960s, the product was developed during the late Fifties as well. The first Echoplex models featured built-in tube preamps to amplify the delayed signal, but the circuit was later changed to a solid-state design during the late Sixties. While the solid-state EP-3 models sound quite good, the warmth, realism and punch of the tube models has made them coveted collector's items. The EP-2, which features three controls (balance, repeat and record) and a storage compartment, is particularly desirable mainly because of the addition of the record control, which was not featured on the EP-1. In recent years, original EP-2 tube Echoplex units have been selling for astronomical prices on the vintage market, and even if you had enough money they were extremely difficult to find in complete and working condition. But fortunately Rock Hard, Inc. recently started manufacturing an amazingly accurate reproduction of EP-2 Echoplex called The Plex. Housed in a Tolex-covered box with a snap-shut latch and a carrying handle, just like the original, The Plex has a familiar, retro-style appearance but thanks to the use of modern materials and components the unit weighs considerably less than the original version. But the lighter weight is about the only difference between The Plex and the original EP-2. While it would have been very easy to make a echo unit with improved bandwidth and greatly reduced noise using the technological know-how that has been obtained over the last 40 years, the makers of The Plex were after something more elusive than an impressive spec sheet. After developing several prototypes and getting them into the hands of musicians and recording artists, it was determined that players would not settle for anything less (or more, as this case may be) than the sound of the original EP-2. Every aspect of the EP-2's tone was analyzed in detail, and a circuit was developed the duplicates this tone with all of the warmth, fullness and character intact. Playing through The Plex is like going back in time. After getting used to the ultra-clean characteristics of digital delays, it is easy to forget what a real echo unit is supposed to sound like, and if you've never experienced this before you are in for a treat. As the repeated notes decay, they get fatter and darker as if they were disappearing into a thick fog. The tone of the delay is punchy and fat, unlike digital delays, which can become more piercing and thin with each successive repeat. With the balance of the repeats about the same as the original signal, the notes bounce off of each other with a rhythm that you can feel as well as hear. The more you play with The Plex, the more it feels like you are controlling another instrument instead of playing an effect that is controlling you. Although there are only four controls (the balance, repeat and record knobs and the movable playback head), The Plex can generate a wide variety of classic effects, from a slapback echo that is perfect for rockabilly or jazz to more outrageous long delay effects. Of course, if you're really adventurous you'll want to place The Plex where its controls are within reach so you can tweak the controls while you play. By moving the playback head back and forth you can bend pitch up or down and since the slider moves along a six-inch area it is easy to manipulate the effects with precision with a little practice. In addition to input and output jacks, the is an echo off jack for bypassing the unit with a footswitch and a playback jack for routing only the delayed signal to a separate amplifier or channel. The power cable is detachable, and the top of the carrying case slides off so it can be stowed out of the way when the unit is being used. The metal plate covering the tape assembly is removable as well, held in place by two thumb screws that can be unscrewed in an instant when you need to access the heads for cleaning or replace the tape cartridge. While some products seem to be reissued just for the sake of being reissued, The Plex brings back a product that still is both desirable and useful. In this day and age where everything is digital from your doorbell to even your mail, it's great to see a tape echo unit on the market again. Like seeing the reunion of one of your favorite bands, The Plex is not only welcome back but it has also improved quite a bit with the passing of time.