Are you looking for delay pedals for your voice? Today we’ll talk about the Top 12 Delay Pedals For Vocals 2023 From Top Brands.
One of the essential musical effects is a delay, yet for a long time, guitar players were the only ones who had access to effect pedals like the ones singers now utilize. The days of using a guitar delay pedal for your voice are long gone.
It stores the original signal and plays it back after an adjustable delay. A reverberating effect is produced in this manner. Most delay pedals feature multiple knobs that adjust the sound to your liking. Standard features include a time knob and feedback control to modify the repetition rate.
In a nutshell, here are the Top 12 Delay Pedals For Vocals 2023 From Top Brands:
2. Behringer Vintage Delay VD400
3. Roland VT-4 Voice Transformer
5. Electro-Harmonix Memory Boy Analog Delay with Chorus & Vibrato
You can classify the best vocal effects pedals in our top 12 delay pedals for vocals 2023 from top brands into three groups: those with just one effect, those designed primarily for use with guitars, and those with a variety of impact for singing built-in.
This post will cover the best delay pedals, including both single- and multi-effects pedals for vocals, as there are very few of each. To create a delay effect, one simply plays back an audio signal a few milliseconds after you originally played it.
How Many Delays Pedals Is Too Many?
There shouldn’t be more than four delays on a board. Unless their tones complement one other and other pedals, they probably won’t work well together. While using two or three delay pedals together allows for some fascinating effects, adding a fourth seems unnecessary.
The question of how many pedals one can safely own is the same regardless of the type. There’s no such thing as too much if you’re on my dime. As a last point, we think it’s reasonable to have four delay pedals—one tape delay and three digital or analog delays.
Should I Get a Delay or Reverb Pedal?
You should get both. The majority of delay pedals also can make good reverb sounds, but the vast majority of reverb pedals cannot simulate a high-quality delay convincingly. In this case, the effects pedal that offers the most flexibility is the one that has a nice delay.
To achieve the best results, you should employ both delay and reverb, the former for creating effects like a chorus or doubling and the latter for adding depth, space, and character to your sound.
A reasonable delay would give you the most bang for your buck among effects pedals if you could only have one. To find the best one, you should prioritize having multiple delay options. These days, you can get a machine that does both delay and reverb for around $110, and you may use either effect individually or together.
Can You Make A Delay Pedal Sound Like Reverb?
Although it can cover some ground, it won’t go over everything, mainly because a delay won’t create a reverb’s reflected patterns. If the pre-delay option is optimized, a delay may be sufficient in a live environment. The best you can hope for is quick intervals, lots of feedback, and a little modulation.
Acoustic and mechanical parts are typically found in conventional reverb units. Modern digital reverbs employ complex digital signal processing to mimic the effects of these mechanical devices. You can’t expect a simple delay pedal to replicate the sound of a high-quality digital reverb. To come close, though, a reasonable delay period is needed.
Let’s see the Top 12 Delay Pedals For Vocals 2023 From Top Brands.
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Top 12 Delay Pedals For Vocals 2023 From Top Brands
1. Boss VE-20 Vocal Performer
The Vocal Effects Processor from Boss, Model VE-20, features an onboard looper and many other effects.
This pedal combines numerous types of units, making it harder and harder to identify a single, ideal component. As a result, you can expect a 50 percent reduction in expenses and increased simplicity throughout the process.
Some vocal processors are ‘pure,’ meaning they can only handle the signal from your microphone. The Boss VE-20 was designed with singers in mind, including all the tools necessary to perfect your vocal performance. It may lack a guitar input, but it’s very flexible. On top of that, it has all the excellent characteristics of Boss that fans appreciate.
Unlike most effects pedals, the Boss VE-20 is designed specifically for bass guitar. There are several knobs and buttons on the device, but you must do all the fine-tuning through the menu. This is not unexpected, considering that most vocal processors and multi-effects devices adhere to a typical architecture.
Exit allows you to go back to a previous screen or undo an action, and Phrase Loop activates the matching feature; thus, these controls are often self-explanatory. To change preferences, use the left and right mouse buttons.
To enter the menu or modify the currently shown parameter, press the Sound button, which also opens the LCD screen’s menu. The machine’s on/off switch doubles as the phrase looper’s trigger, while the second footswitch triggers Harmony or any other effect you choose.
VE-20 contains a looper that can record for up to 38 seconds. For some, especially those who use it for certain sections of their song, that may be all they need. Since this pedal doesn’t let you save looped phrases in the memory slots, you may only find it helpful in limited circumstances. You won’t need to change the key because this dog can do it automatically based on your singing.
- Special Effects
The harmonies highlight the VE-20, but BOSS has also included various voice effects so that you can imitate anything from a robot to Cher to a tinny radio. You can achieve that overused Auto-Tune sound; there is an “electric” setting in the pitch correction FX block.
Other effects are flanger, chorus, radio, strobe with a tremolo effect, a preamp with an Eq, and a distortion; this, in combination with an octave-down harmony, should appeal to death metal vocalists.
Character & Sound:
When you plug in the Boss VE-20 and start exploring its features, you’ll quickly realize its value again. Almost all of the factory presets sound authentic enough to be used professionally. Both “Ordinary” and “Special effects” are great since they complement your singing nicely without adding any phony tones.
Of course, no matter how hard you try, there are those that won’t sound natural, so use them with caution. Also, VE-20 has a soft, harsh, robot, and electric pitch correction options. A soothing effect is barely noticeable, a powerful effect drastically modifies your pitch, and robots and electronics put those unnatural aspects to the fore.
Since this pedal won’t add coloration until you specifically apply it, you may say its sound quality is exceptionally transparent. This puppy does a fantastic job tracking your vocals; its key changes are always spot on. Looper expands the usefulness and reach of the original utility.
Overall, the Boss VE-20 is a fantastic vocal processor for individuals who aren’t searching for something overly sophisticated. Its adaptability will benefit your performance regardless of your preferred vocal technique. Whatever kind of voice you have, from a strange, otherworldly one to a standard female one, this pedal will enhance it.
Unfortunately, this pedal doesn’t have a guitar input, which can be a problem, especially for vocalists who want to play guitar and vocals simultaneously. It was also great to have the ability to save Loops; it helped musicians quite a bit.
2. Behringer Vintage Delay VD400
True analog delay pedals, such as the Behringer Vintage Delay VD400, have a distinct sound that guitarists appreciate.
It’s deep and ominous, with a distinct ambiance and reverberating echoes. The guitar pedal provides all this and more, allowing you to tune in everything from a tape-style slap-back to long trailing effects with a few simple knob twists. In addition, the pedal’s split outputs make it possible to route the delayed and direct sounds in separate directions, which is very neat.
If you’re familiar with Behringer’s pedals, you know that their plastic construction is infamous. You’re in for a pleasant surprise if you’ve never held one. The pedal’s plastic composition doesn’t make it any less durable.
It won’t hold up as well to abuse as metal pedals would, but if you’re careful with your equipment, you can use one of these pedals on stage. Although inspired by vintage equipment, this pedal has a battleship gray finish.
Similarly to the DM-3, this pedal’s layout consists of a trio of dials that let you adjust the effect’s repeat rate, echo length, and intensity. The repeat rate determines how many times the pedal will play back a note you play before it stops.
The delay can be heard as a subtle echo or a precise repetition of the original message depending on the setting for “Echo,” which determines the trail off. The pedal’s intensity setting determines the number of repetitions it produces.
This pedal is unusual because it has three jacks instead of the standard two. There are the standard line-in and line-out jacks. Still, like the original pedal this is based on, there is also a direct-out jack that lets both the unaffected and impacted signals exit the pedal simultaneously so they can be routed to different amplifiers for a wet/dry effect.
This pedal can produce up to 300 ms delays thanks to its analog construction and effective noise cancellation technology. For the most part, this pedal will satisfy your needs, as was previously mentioned. You get a high-quality sound, a natural delay, and responsive controls for the asking price.
This one might not be to the liking of the more experienced player who relies heavily on delay to achieve the ideal audio blend. However, the pedal offers everything you need if you want to add something extra to your guitar attack with this effect.
Character & Sound:
The control arrangement was just as intuitive as the Boss version, if not more so. Turning the Boss clockwise increases the repeat rate while turning it counterclockwise decreases it. On Behringer, the typical lower-for-clockwise and higher-for-clockwise convention applies.
While not the greatest range available, this pedal is adequate for most situations. If you put the pedal’s controls in the middle position (midway between the extremes), you will have a good sense of how the sound would generally be. It had a pleasant analog quality that made it sound cozy.
The tape delay effect wasn’t believable, but the sound was fantastic. Reducing the echo level led to a delay that was so abrupt it sounded like it had been cut short, which undoubtedly diminished the tone’s overall warmth. Not only that, but when you turn off the echo, you can hear more of the ambient sounds.
If the echo is turned up, the sound is softer and more rounded, with less noticeable fizz. A lot of impacts came from turning up the volume. You could achieve tremendous sustain by turning this dial to the right while also being able to rapidly kill the sound by turning it to the left while maintaining a clean and punchy tone.
The Behringer VD400 Vintage Delay is a fantastic choice if you’re looking for a cheap, flexible analog delay. You can’t beat it if you want to add thickness to your 80s hair metal leads, depth to your ambient soundscapes, or anything in between.
When the delay is on, the pedal’s white noise is manageable. However, the sound continues even after the bypass is activated. The noise is suddenly not contributing to the effect, incorporating it into the board. You can experiment to see if it’s ever silent, but when you tried it with several power supplies, with and without other pedals, the noise from the pedal always seemed to linger on the board.
3. Roland VT-4 Voice Transformer
The Roland VT4 can recreate any vocoder sound, from ’70s classics to the hyper-pitch-corrected pop singers of the past decade.
This voice effects processor makes creating your distinctive vocal sound simple, with no need to delve into the menus for adjustments ranging from fine polishing to out-and-out mangling. And many high-quality 24-bit/192kHz effects are available.
The VT-4 is surprisingly portable due to its small size and long battery life. They couldn’t believe how much high-quality functionality Roland had crammed into such a little package. The VT-4 is the only device you need if you want professional-quality vocal effects.
Although it’s narrow (16 cm), this pedal packs a serious punch. Don’t let its small size fool you; this unit has been thoughtfully designed, down to the placement of its knobs and sliders.
The VT-4 uses the same ingenious method used by other Roland products that a USB input can power: it can be converted into an audio interface. Also included are the usual jacks for mono and stereo playback. For condenser microphones, the VT-4 can supply phantom power and is powered by four AA batteries. The VT-4 is ingenious because of how much it can perform on just four AA batteries.
The VT-4’s stated goal is to supply a wide range of voice effects that change noticeably based on the chosen element and interact with one another. The Robot effect is a good place to start because, as expected, it makes your voice seem metallic. Still, using the MIDI ports on the back of the unit, you may control the pitch using a MIDI keyboard.
Compared to the usual Robot patches, the vocoder effects are more harmonious. These are pleasant to the ear, make logical sense, and serve their intended purpose admirably. The lack of configuration options means you must make do with the predefined patches, one of which emulates the pedal’s monophonic behavior in its default setting.
Using a MIDI keyboard, you can alter the pitch, but if you’re unsure of your talents, you may always resort to the built-in pitch correction tool. You can get all the autotune you need if you put a big pot in the middle of the panel. As a result, you’ll be able to counter any pitches you receive quickly.
There are four alternatives “patches” available for the vocal effects. If you’ve listened to many albums with a vocoder sound and find a patch that sounds a little like the original, it can be hard to resist the temptation to create a cover version.
The following EQ effect, the megaphone, is a powerful one. Since it is both practical and realistic, you might use it in a real-world situation. If you’ve tried to use a megaphone into a mike on stage and been subjected to feedback hell, this may be a blessing.
- Formant Control
Particularly useful in Harmony mode, when you may make a male vocal to sound like there are female behind it, the Formant control is a great tool for changing the vocal’s tonal construction.
There are two more faders on the right for adjusting the wet/dry mix of the vocal effect and another fader for adjusting the amount of effect. Even though there isn’t a ton of customization here, the options given are good enough for practical use and easy whole understand, making them ideal for production environments.
Character & Sound:
There’s no justification for the VT4’s level of enjoyment. The pitch correction was quick and effective during testing. The Robot and Vocoder modes make for a fun vocal processor when combined with the other effects.
The VT4 is technically a vocoder thanks to its support for MIDI for pitch and the possibility to utilize your vocoder carrier via the USB 2 interface; with eight versions of each effect, you’ll be able to experiment with new sounds for quite some time. The Voice Transformer family of products has developed from a direct impact into a powerful and adaptable vocal toolkit.
The VT-4 was designed to operate primarily with voices, although it does well when used as a modulating signal for other sources, such as percussion. However, it might be worth it if you create intriguing and unusual vocal sounds or sounds geared toward the hard-tuned hues of R ‘n’ B.
It’s adaptable enough to fulfill the needs of touring bands and recording artists who employ special effects. It’s high-quality hardware with a wide variety of flexible speech options. At this price, the MIDI- and pitch-controllable material is a no-brainer if you know you’ll enjoy vocoding and effects.
The auto-tune feature only goes so far. Even though there is a MIDI input, the device cannot dynamically adjust the key you have specified. Unfortunately, unlike most auto-tune plugins, including the EHX Vocoder pedal of comparable price, the MIDI input only allows you to adjust the vocoder’s pitch, and it is not vital on-the-fly. And the harmonizer is the same. A note’s harmony doesn’t change depending on the chord it’s sung over.
4. Zoom V3 Vocal Processor
Content creators can use the Zoom V3 voice processing pedal to enhance their recordings.
It has a ton of handy effects that everyone can utilize, such as harmony and pitch correction. In-built effects such as compression, delay, and reverb are at your disposal, and you may adjust each parameter separately. A dedicated expression pedal input is included to enable instantaneous effect fine-tuning.
If your recordings have a tinny or unclear quality, the Enhance feature can help. If you want to streamline your recording process and record directly into your DAW or streaming client, the V3 also serves as a USB 2.0 audio interface.
The new Zoom V3 continues Zoom’s tradition of providing inexpensive, high-quality effects to content makers. It is ideal for both virtual and live performances, and its small size, durability, and user-friendliness make it ideal for vocalists. When streaming video games, recording podcasts, or making videos for YouTube, you can also use the V3 to change the creator’s voice.
The V3’s many creative capabilities, including the Doubler, Synth Effects, Pitch Correction, and the ability to adjust an effect’s parameters at the turn of a knob, provide users a great deal of leeway when it comes to sculpting their sounds.
Artists now have access to a potent Harmonizer that enables them to construct 3-part harmonies in real time, in both major and minor keys. Well-known effects such as compression, delay, and reverb from Zoom can each be adjusted independently.
The V3’s high-quality pre-amp will let you give your best performance. However, the Enhance feature will improve the quality of any microphone instantly.
The interface is straightforward, and the buttons and dials are all labeled adequately for a painless and immediately understandable experience. The V3 is small, lightweight, and can be mounted in various ways, making it ideal for transport to and use in any location.
Numerous inputs and outputs are available on the rear panel, including an XLR mic input for condenser and dynamic microphones, a TRS input, a headphone jack, and a controller input for an additional footswitch or expression pedal that you may buy separately for easy hands-free control.
The V3 can be used as a dedicated two-input, two-output USB 2.0 audio interface when connected to a computer through its micro-USB connection. The V3 can run off the AA batteries or the 9V power adaptor. It is also compatible with the optional microphone, built to reduce background noise so the public can hear your speech.
Character & Sound:
It’s a bit challenging for someone unfamiliar with music theory, but don’t worry. Unless you are performing a cappella piece, refrain from using chromatic pitch correction. It will automatically tune the entire song if you sign with a backing track.
Instead, it would help if you tried to locate the song’s original key. The song’s key can be determined by the letter you dial on ZV3’s key circle; if it’s a primary key, such as A major, use a capital. After you’ve done that, select Enhance to give your voice greater volume and Pitch Correct Key to correct your pitch.
The higher you set the effect to adjust, the more robotic your voice will sound. Turn it down from the total volume (100) until you get the desired tone. The reverb is also reasonably practical; however, it would be “great” to have a few more reverb settings to choose from.
However, this may be asking too much for the price being asked. The good news is that you can confidently hand this off to a lead singer and go on. Singers who use voice pedals with more features may find them cumbersome when they need a quick turnaround.
As for the V3, it’s a breeze to operate; you just have to select an effect and tweak the settings until you’re happy with the result. It’s easy to use and fine-tune the auto-tune function.
Although it does not have the most professional sound, a separate download is available for those who wish to fake it with an overused sound that is all too common today. In sum, this package provides everything required to record songs or play in front of a crowd of thousands.
A great deal of restriction exists. There are merely a pair of 1/4-inch jacks for signal output. The ability to modify the harmony is extremely limited, and even when using the proper key, it often sounds like the wrong interval.
It contains appropriate independent reverb, delay, and compression in addition to the ‘unison,’ ‘pitch correct chromatic,’ and ‘deep’ that are particularly helpful for a Bruno Mars song. After less than 20 hours of use, the device began randomly shutting off.
5. Electro-Harmonix Memory Boy Analog Delay with Chorus & Vibrato
Even in its new, more compact form, the EHX Memory Man continues to provide great memory protection.
For decades, you’ve been treated to the pedal’s ability to bend time and space, wrapping riffs in a rich, organic tone that characterizes the ideal analog delay. The pedal maintains this standard while being affordable so that even a shoestring budget can purchase a classic manner. Two years of development went into the pedal, which honors its roots while utilizing improved analog ICs.
Either a triangle or a square wave is an option for us. Since square waves are too “special” to be used in any standard musical setting, they are of little use here. However, you must turn the Depth knob to the right before using the triangular or square waveforms.
The sound produced by a triangle is continuous and smooth, much like the sound produced by a chorus pedal. When utilizing a square, on the other hand, the sound jumps between two distinct delay times, providing the impression of a quick pitch shift.
If you’ve used other pumps of comparable size, you’ll recognize the housing immediately. If you don’t abuse these pedals by dumping them from a high place or letting wine pour on them, you should have them for a long time. The pedal’s size and weight mean you can utilize it without needing a pedal panel and it won’t slide around while you play.
The pedal’s four main controls are immediately noticeable. The delay option controls how much time passes before the change takes effect. As the reverberation time of your tone increases, its echo will be increasingly audible.
The delay time range is adequate without being outstanding. The quantity of delay you can get by nature is limited with an analog pedal. The opposite is true of digital delay pedals, which, despite boasting an infinite delay time, sound artificial and unnatural compared to their analog counterparts.
Most single effects pedals need a standard 9-volt battery or an AC converter; this one is no exception. If this son starts using 9-volt batteries, they will go dead very quickly. It does not use much power and is, therefore, not a battery drain. Even yet, it consumes enough force that it’s only practical to use with the official AC adapter, and it does not appear to get along with generic substitutes.
Character & Sound:
Turning the Depth knob determines how much modulation is applied to the entire signal. If you turn the knob clockwise, the modulation will increase; if you turn it counterclockwise, the effect will be disabled. Modulation combines your signals to produce an echoing effect similar to that of a phaser pedal, albeit the execution could be more seamless.
The Blend knob lets you adjust the wet or dry signal level or use both at once. Turn it up for a drenched signal, down for a dry one, or anywhere for a mixed one. Finally, the amount of motion that is fed back into the delay block from its output is regulated via feedback. You may make more echoes by turning the Feedback knob in a clockwise direction.
You can count on the pedal as a reliable delay pedal. It does a lot of things right, and the few things it doesn’t do so well—like the power supply issues and the extra functions that most people won’t use—are easily overlooked. Those seeking an analog delay choose it due to its organically grown sound rather than the abundance of extra capabilities that this pedal possesses, as is the case with digital delay pedals.
Even with the delay depth set at noon, there is some strange modulation. It sounds further weird when you tilt it to either side; overall, people find it useless. This effect reminds me of an envelope filter. Incorporating an expression pedal and on-the-fly customization choices is a brilliant touch. Yet the most crucial feature—the ability to adjust the delay’s volume—is absent.
6. TC-Helicon Mic Mechanic 2
The VoiceTone Mic Mechanic 2 from TC-Helicon, is a compact and simple vocal effects pedal.
With a 9-volt battery operation to accommodate standard pedalboard power supplies better. If you have a fantastic voice or are just trying to get through a song, this pedal will help you sound even better. To give you studio-quality reverb, delay, and natural-sounding pitch correction, Mic Mechanic 2 strips away the unnecessary frills.
Every studio and concert hall on the planet uses reverb as a standard vocal effect. Mic Mechanic 2’s sumptuous reverbs, culled from TC-flagship Helicon’s VoiceLive collection, give your voice the studio-quality atmosphere of spaces large and small.
Mic Mechanic 2’s Delay lets you add a crucial impact to your vocal sound, from quick slaps to complete repeated phrases. In addition, Mic Mechanic 2 makes it simple to adjust the delay’s tempo to fit your song’s tempo. This pedal ensures that your singing will sound professional and polished in the studio.
Unless you choose extreme (and noticeable) pitch manipulation, the Pitch Correction will gently direct your voice to the “correct” note you’re singing. Mic Mechanic 2 takes over to help guide your voice in the appropriate direction. This pedal is your ticket to vocal greatness, whether you’re looking for subtle “help” or a jarring effect.
- Adaptive Tone
The Adaptive Tone feature in Mic Mechanic 2 automatically adjusts the EQ and dynamics as you sing. The “tone” of your voice is automatically optimized while you speak by constantly changing the various effects. Without needing a million-dollar microphone and a world-class engineer, this little pedal will help you get professional sound.
Character & Sound:
Now, a tiny stomp pedal is trying to accomplish the work that a bigger one once did. At first glance, there are trade-offs when using 3 or 4 TC pedals. You’ll have to manually adjust the effects mid-performance if you want to make any adjustments, as the tonal control is either on or off, the pitch correction has just one knob, and there’s no other way to adjust the effects’ dryness or wetness.
Hold the results bypass switch until the impact on light flashes, and TC has cleverly built a tap tempo within the control. Since the Mic Mechanic sounded great right out of the box, it didn’t give a hoot about the drawbacks that were supposedly a part of it.
The adaptive tone feature allowed your voice to be heard clearly above the band, ample, lush effects could be set up in seconds and sounded excellent, and the pitch correction was the most natural ever heard from a live setup. Your vocals had extra “pop” due to all these factors.
The TC Helicon Mic Mechanic, available for $150.00, is one of the nicest sounding modern voice processors on the market and readily competes with voice processors costing three to four times as much. It’s a simple, compact product that sounds wonderful straight from the box, thanks to the high-quality effects you can only create in a recording studio.
Mic Mechanic 2 may be adequate if you only need slight adjustments to your pitch to sing clearly. That sounds terrible, though, if you need more than a little tweaking. Extremely artificial and manipulated. Users often go through two units yearly due to simply burnout and inability to function. We can’t afford for it to stop working in the middle of a rehearsal or, God forbid, the actual live performance.
7. Ibanez ADMINI
This little pedal puts authentic analog delay sound into a package small enough to fit on even the most crowded pedalboards.
You will have a wide range of delay time options, from quick slapbacks to lengthy echoes. Because of the analog nature of the signal path and the true bypass switching, the influence is eliminated from the signal chain switch in the “off” position.
Even though it’s been enlarged, the pedal is still too small to use without Velcroing it to a board or similarly stable. However, you can disregard any additional collateral harm. The pedal’s construction in Japan gives it the same solidity as brass knuckles. The repeat and mix controls are generally powerful, but their little knobs could be weak spots. The small Ibanez will endure as long as one of its hardy ancestors.
As major BBD chip producers ceased operations, it appeared that bucket-brigade-driven analog delays would soon become extinct.
However, thanks to manufacturers like Coolaudio, high-quality BBD chips are again on the market, allowing for the revival of vintage delay and modulation circuits and the creation of brand-new products. This chip is common in modern analog delays; however, it doesn’t guarantee the pedal is identical to the rest of the market.
- BDD Chip
The pedal produces repeats that decay as they are regenerated from one chip to the next, just like the best antique analog delays. One of the main draws of analog delay is this effect, which is most easily heard as a gradual darkening of repeats. Many people find that it improves the sound by making it seem more genuine and organic; it also softens the edge of fuzz in the old style and gives modulation effects a nice haze.
Character & Sound:
Repeats deteriorate in the best possible ways. Even at the highest repeat settings, the fades maintain a smooth curve and avoid sounding clipped or distorted. To complement its spacey, meandering leads and rhythmically driven delay passages, the pedal also has a subtle sheen of extra top-end clarity that is light years away from digital sterility.
As with many modern analog delays, the pedal practically doubles the maximum delay time of classic standbys like the other. When gain pedals are added to the signal chain, the delay time pairs well with the enhanced airiness and treble presence, it also draws attention to the excellent sensitivity and taper of the controls, which make it possible to dial in great delays and smooth, controlled oscillation.
Whether you’re a lifelong fan of analog echo or just discovering its enchantment for the first time, this pedal is an excellent introduction to an analog circuit’s rich, organic, and creative possibilities. It’s a value compared to the prices that antique merchants charge for authentic analog delays, sounds incredible, and is a lot of fun to play about. Despite its small size, it more than justifies its high price.
The little knob is the biggest problem since it takes practice to get a good handle on the delay signal. The delay has the potential to readily produce feedback; hence its use requires discretion.
8. Boss VE-2 Vocal Harmonist
The Boss VE-2’s interface is well thought out and clearly set out, making it a breeze to use.
You don’t need to spend a fortune or tote around a pedalboard-sized device to achieve the vocal processing you desire; the BOSS VE-2 Vocal Harmonist effects processor is proof of that. With this portable tool, you can create professional-quality music without any prior experience with recording equipment or musical theory; all you need to do is press a button, and the effects will be applied automatically.
If you plug in a guitar, the VE-2 takes on a new level of impressiveness, adapting its harmony to the chords you play. The VE-2 can be powered by four AA batteries, making it highly portable, and the unit’s USB interface allows you to bring your preferred vocal effects into the studio.
- Harmony Generator
Plugging in your guitar and letting it analyze the chords you’re playing allows this pedal to shine as an automatic harmony generator truly. Using the VE-2’s key-tracking feature in conjunction with the automatic harmony recognition will enable you to build harmonies that fit your music and track your voice.
You can pick from a wide range of harmonies, including 12 different kinds of 1- or 2-voice harmony, each with its variant. Therefore, the BOSS VE-2 will provide you with the ideal chord progressions regardless of your performance style.
The BOSS VE-2 Vocal Harmonist does much more than provide harmony to your vocals. It already has various amazing effects and processors built-in means it’s simple to give your live vocals a studio-quality polish. A single knob on the effects section allows you to adjust the amount of reverb, delay, or both.
Using the VE-2’s Enhance feature, you may add a professional sheen to your vocals for a more polished final product. If you press it again, you’ll activate an automatic pitch correction feature that helps you sing in tune even when the volume is up. You can’t hear yourself very well, but it makes your automatic harmonies more consistent.
The VE-2 Vocal Harmonist was made to be as adaptable as feasible. To begin, the VE-2 requires only four AA batteries to operate and may be used to give steady phantom power to any condenser microphone.
With the three easily accessible buttons, you can save and recall your preferred settings, and the auxiliary input allows you to play along with backing tracks. You can take all the VE-2 has to offer into the studio because of its USB connectivity, making it an audio interface.
Character & Sound:
Harmonies may be generated when singing along with the VE-2, with a pitch that automatically follows the chords performed on a guitar, a preset key, or some mixture of the two. Using any of these three settings, you may create lovely harmonies in any key without any prior experience with instruments or music theory.
Including interface options for adjusting the musical key settings and the auto harmony feature for singers/songwriters who want to use external instruments is a genius decision on Boss’s part. This makes it a versatile pedal used by singers or instrumentalists looking for a harmonizer, reverb, or delay with on-the-fly key recognition via an instrument input/thru.
Neither the delay nor the reverb sounds well, even at their lowest settings. It’s challenging to balance a “natural” sound and a full one. If you utilize the Enhance button with pitch correction, the result will sound artificial and processed, and you’ll have to switch to the Enhance option without pitch correction, which is slightly better but still subpar.
9. Zoom V6-SP Vocal Processor
If you’re looking for a great reverb pedal for your vocals, go no further than the Zoom V6-SP.
The device’s three components are labeled “Voice,” “Harmony,” and “Effects,” and they each perform distinct purposes. The footswitches provide instant access to the 40 preloaded patches, 100 user memory spots, and looping capability while performing live.
As a result, you can easily add harmonies throughout the verse, an octave effect during the chorus, and an echo effect during the bridge without having to go on your hands and knees. And if you still need more nuance in your performance, the Zoom V6-SP comes with a Formant Shift pedal that allows you to make instantaneous adjustments to your vocal character.
In addition to the 40 factory patches, there are 100 user slots for storing your creations. The SGV-6 microphone, included in the package, is meant to prevent feedback from leaking into your vocal effects from the stage’s other instruments.
The three multi-function footswitches also handle the memory patch selection and the extensive looper section, which can record up to 3:00 audio. Compression and EQ/sibilance enhancement are incorporated, respectively.
A USB port allows you to use it as an audio interface in your DAW; an XLR output lets you connect to a mixing console, and a control pedal input lets you add an extra expression pedal that you can assign to effects settings. There’s also a headphone out with volume control. The V6 operates on the provided AC adapter or four AA batteries for about three and a half hours.
- Expression Pedal Compatible
What sets the V6 apart from other vocal processors is its built-in expression pedal, which you can use with any formant effects without affecting the pitch. This allows you to incorporate the effects you’re using as an integral part of your performance rather than just using them as an afterthought. There are many innovative potentials when considering the V6’s three primary components and their capabilities.
The Voice section is displayed initially, beginning at the lower left. Basic sound characteristics, including chromatic and diatonic pitch, timbre (through octave shifts, pitch modulation, and vocoder effects), and volume (via volume and reverb) can all be tweaked here.
The Harmony part comes next and features basic buttons for altering the pitch of the harmonies, exactly like the Voice section’s key selection knob. The text concludes with an Effects section whereby conventional effects like delays, reverbs, and chorus sit alongside out-of-the-ordinary effects such as Distortion, Beat Box, and Telephone.
Character & Sound:
This is not a product for singers who need EQ, compressor, and ambiance but for those who want to add excitement and dynamics to their complete vocal texture by creatively using these effects. It was built for live performances, and in the hands of a talented singer, it may become an extraordinary instrument for expression.
Unfortunately, you can only use the expression pedal for formant effects, so you’ll need to use a different pedal if you want to, for example, fade in an echo or change the volume of a harmony. If you’re into sound exploration, you’ll have a blast with this feature-packed creative hub.
The logical layout of its components, the quality of its construction, and the simplicity and obviousness of its interface all won me over right away. Great quality sound, a wide variety of effects, compatibility with a USB interface for use with an iPad, Mac, or PC, and an in-built expression pedal: a great addition.
While the harmonies are nice, this track’s effects are too wacky to be used in a professional setting. Karaoke or a hilarious DJ could have some fun with that, but a professional vocalist should steer clear. The voice effects are also exaggerated to a ludicrous degree.
The formant pedal makes it tough to sound like you’re not high on helium or a demon. It would have been fantastic if the pedal could have been a slider for the effect’s intensity.
10. Line 6 DL4 MkII
The emerald machinery that tormented the effects pedal boards of experimentalists in the middle of the 2000s has returned, only this time, it is more refined and compact.
The first modeler is a staple on pedalboards from stadium stages to worship platforms to bedroom floors. The pedal is an homage to the original, well-known small green time machine, and it keeps all of the original sounds and features and the same knob and footswitch structure.
An XLR microphone input, full MIDI control, a bypass switch, and an expression pedal input are also included. There is nothing about the original that the Delay Modeler pedal lacks. Therefore, if you want a delay stompbox that sounds great and has lots of cool features, this is the one to get.
- Housing and Connectivity
You can see right away that the MkII is a DL4, but it’s noticeably thinner and sleeker than the original, and the matte finish gives the impression that it’s bragging about how current it is. It’s indeed bulkier than other delay pedals on the market, but it’s still a worthwhile investment for any guitarist.
Plenty of other pedal designers would squeeze everything into a smaller container, given that there are only six knobs and four switches. Maybe they need the extra room because there’s a whole bunch of stuff going on behind the scenes, like stereo ins/outs, a mic in with level control, an expression pedal out, MIDI in/out, a micro SD slot for saving loops and increasing loop time, a USB in, and power.
The folks at Line 6 concluded that athletes simply need more mental space. Using the pedal’s switches is like stepping into luxury from the very first moment. And making adjustments on the fly doesn’t require much skill or precision thanks to the inset knobs.
The design may seem basic, but it stands out in a world of intricate pedals. You can adjust a selection of delay tones with a single knob. Fifteen of these are brand new, and you can access the remaining five by pressing the “heritage” button.
Of course, the looper feature is there as well. As claimed, you may adjust the delay period, the number of repeats, and the volume, and the tweak and tweeze controls behave differently based on which delay voice you choose.
There’s a lot to take in from the last two knobs, with all the many delay voices available, so using the included written instructions is preferable. With time and practice, you’ll be able to commit specific controls to memory, making future use much simpler. You may get pretty close to your ideal setting by toggling one of the three preset switches. That needs very little in the way of adjusting or adjusting to get you going.
However, when used in stereo, the pedal’s more ambitious additional sounds come through. The Euclidean mode adds psychedelic multi-tap textures, Multipass breathes new life into the tonal filtering of the classic Sweep effect, and Glitch’s unpredictable octave-hopping is the greatest part.
If you have an expression pedal with a TS output rather than a TRS one, this one can go genuinely rowdy without sounding like a traitor. Another option is the Heliosphere, which gives the repeats a soaring, cathedral-like stereo ambiance and leads us neatly into the topic of additional reverbs.
You can route your reverb before, after, or in tandem with the delay, and the presets range from classy plates and rooms to shimmering modulated dreamscapes. The sound is top-notch, making this stompbox a true two-in-one device.
The increased memory makes this a far more helpful performance and composition tool than the one in the old one, but other than that, it’s the same deal; for example, the fourth footswitch still allows you to either reduce the speed of a loop or put it into reverse.
Character & Sound:
While the printed Cheat Sheet is handy for learning what the Tweak and Tweez knobs do to each model’s settings, we have faith that your ears will pick up on the little differences. After settling on the perfect delay model after some fiddling, saving it as a preset is as simple as holding down the footswitch.
The pedal’s global settings allow for additional customization, but the pedal’s intuitive design means you will only need the instructions if you need to. The pedal reverbs are a nice bonus and may be utilized separately from the delay if the delay mix is turned down to zero.
If you are familiar with the sound quality of Helix processors, you will feel right at home utilizing the pedals of many familiar delay models. Cosmos, Transistor, and Adriatic are modern echo models with a lot of depth and lushness; nonetheless, settling on one of those rudimentary tape sounds is ultimately up to you.
Of course, there are more complicated delays, such as the Euclidean and Glitch delays, but we’ll leave them to the mathematicians. The reverbs are helpful whether you’re looking for a one-off effect or a lush background sound, and you may play them separately as long as the delay mix is at zero.
This new version of the DL4 pedal is a great improvement over the original. It’s simple to find both familiar and novel noises. All of the controls are intuitively placed. The reverb feature is a bonus, but it sounds so amazing that could access it more quickly and readily.
However, it’s tough to criticize this pedal for that one drawback. The pedal satisfies the needs of both advanced users and those who prefer more basic delay effects. The pedal will maintain the timeless status of this green bike.
The interface isn’t great, so keep the manual closed if you forget how to operate the pedal. Regrettably, when developing a replacement dl4, they followed too closely to the blueprints of the original. It would be quite helpful if this pedal had a tiny screen that showed you exactly what setting you were tweaking.
When you take into account the various in-built delays and reverbs. Trying to keep track of the functions of the “Tweak” and “Tweez” knobs might be overwhelming. This functionality is included in Timeline and greatly simplifies the pedal’s use.
People reported problems with saving the tempo to presets, and as it is currently impossible to save any subdivision other than 1/4 tap, the tempo always reverts to that setting.
11. Meris LVX
A highly mighty modular delay system, Meris LVX grants users virtually limitless sonic possibilities.
This pedal has a whopping 2.6 seconds of dual delay, and its delay structures, kinds, and processing features are all extremely adjustable. Many processing elements common to previous Meris products are carried over into LVX, and new processing elements are added.
There is a dual stereo delay with configurable note divisions on this pedal, which may also be used as a 60-second looper. LVX’s screen-based user interface makes it simple to use despite its robust architecture.
It provides highly adjustable dual delay by allowing you to change the delay structure and processing parameters. With LVX, you have access to external processing components. Except for Poly Pitch, all the processing elements work in true stereo, giving you a wide and enveloping soundstage.
With this pedal, you get a real stereo 60-second looper and a dual delay with customizable note divisions on both sides. Thanks to the extensive modifier section, you can easily route control signals to the stompbox’s processing settings, and the instant-access tuner includes selectable reference and output modes.
There is a high-quality analog JFET input section, transparent AD/DA, and DSP. This effect pedal has a stereo input and output with independent jacks, and it can accept either instrument or synthesizer/line-level sounds via the switchable input/output headroom level. Its analog mix bus is controlled digitally.
By placing an equalizer before or after the delay’s several stages and mixing them in and out using the huge mix knob, you can subtly alter the delay’s tone. The principal controls are located in the front and middle, moving clockwise from the top.
These are commonplace alternatives to a delay and should feel natural to most users. Its strong point is the ability to write four switches to toggle effects, parameters, tempo, and looper mode.
The C controls are also accessible, and their usefulness varies depending on where in the editing process you happen to be. Edit menus and active settings are shown on a colored screen within this. A little pot on the rear panel lets you adjust the input for either guitar or line-level signals.
You have unlimited tinkering options and a wealth of in-the-moment expressive freedom. This pedal has full MIDI support, including continuous control parameters, preset send/receive, and MIDI beat clock synchronization, all implemented via conventional DIN jacks for input and output.
Also included is a jack specifically for the expression pedal, which you may use to control numerous parameters simultaneously. This is ideal for elaborate live performances because of its real-time controls.
Character & Sound:
The earthier, retro-tinged effects are fascinating and superb. While the Hot Plate reverb is highly organic and has the impression of fireworks exploding off the fretboard, the Rumble preset is a super-dimensional slapback tailor-made for tripping.
It presents a whirling, slightly distorted tremolo, and a tape-echo simulation is a favorite among dream pop and shoegaze textures. Granular synthesis, sample crushing and scrambling, pitch repeats triggered by an envelope, warped sitar sounds, and cassette warble oddities are just a few examples of the underlying oddity present.
There is much leeway for customization in each of these voices. The best method to come up with a new song or riff is to pour yourself a glass of wine, clear your schedule, and explore the vast sonic landscape represented by these 80 presets. The thousands of conceivable texture combinations suggest that moments of genius might occur here frequently.
Look at the ratings on a sliding scale and decide how to rate. The organic effect emulations coexisting with the over-the-top, more “artificial,” and more distorted stuff is something that a multi-instrumentalist, multimedia artist, or just crazily open-minded music producer will be accustomed to find inspiring.
LVX may be overkill for those who prefer to stick to the vintage route or have a narrow musical focus. The pedal’s user-friendliness and ease of use make it a desirable tool for any creative who values speed and spontaneity without placing too much value on predetermined outcomes.
It has come to light that this pedal is defective and will not power on when connected to external power sources. That means you’ll have to plug it in and unplug it every time. After reading through numerous forum discussions, Meris decides the best course of action is for you to send the pedal back so they can correct the circuit.
The second flaw is that the looper’s loudness increase needs to be better, rendering it ineffective. The third flaw is that the pedal only functions when an effect is active; that is, there is no dry through.
12. TC-Helicon VoiceTone E1
Many famous works have been performed in their VoiceTone series; therefore, it’s been very successful.
There is a wide range of pedals available to meet the needs of any singer, from the most technically advanced to the most basic. While some musicians prefer to spend hours perfecting their sound, others seek a more straightforward solution, and this pedal fits the bill.
Despite its small size and authenticity as a stompbox, this guy can dish out precision and let us tweak to our hearts’ content. All voices and performances can benefit from its extensive range of customization options. E1 is an excellent option if you’re seeking a time-efficient voice processor.
Compared to studio-quality tools, such as the ones we have now, it seems a little lacking in flexibility. Remember, though, that they bred this one for a particular job, and it does that job quite well. It’s not a full vocal processor but rather an effects pedal.
There are 12 distinct delays and echoes available from this guy. You have complete control over whether their spacing is chaotic or tranquil. You’ll need feedback control to fine-tune these effects and give them whatever specific characteristics you choose. More crucially, an Analog switch activates the pedal’s antique vibe and transports us to another era. It can produce stunning results when used in b.
- Tap Tempo
This device has a built-in tap tempo so that you can easily control the rhythm of your effects. If you want to perform with the same pattern forever, you may tap it in. Enough with the superficial praise; it’s only when you delve more deeply that you’ll realize this guy’s worth. The internal processor ensures that the mic preamp functions optimally by filtering out any noise the microphone could produce.
It helps a lot in terms of creating professional sound and reducing noise. This will free you from relying on echoes and delays and allow you to experiment with other effects. The lack of presets is a drawback, but the unit’s ease of use ensures that you’ll never forget that you have on-the-fly control.
This pedal is not making any excuses for its lack of features. It’s simple enough in terms of structure and features, but it still offers a lot of variety and is fun to experiment with.
The Style Selector is the first option available on the panel. You can quickly and easily find the correct reverb or delay effect by scrolling through the available options. Feedback then adjusts how long the echo lasts. Dry and Wet allow you to adjust the mix between your dry and wet sounds.
This way, you can adjust the effect level to suit your taste and play up or down your natural vocal strengths. Directly beneath these controls is an Analog button, which rolls off the echoes’ highs to give them a more vintage sound. The footswitch has dual purposes: it can be used to tap in the proper tempo or to activate effect or bypass modes. You can find LEDs that will simplify your life in various ways
Character & Sound:
As expected, the audio quality is superb. As a compact pedal, it packs a surprising punch regarding customization choices. Incorporating any echo or delay into your recording will give the impression that your voice is being played again in a larger room.
To sum it up, if we were to use a single word to describe this pedal, “dimensional” would be it. The pedal’s tracking abilities are excellent, so it will accurately identify your voice and layer the effect on top without adding a strange overtone.
It has a light-emitting diode (LED) that indicates when the input signal is at an unsafe level (by becoming red when the loudness is too high). Those who prioritize quality over all else will significantly benefit from this pedal’s user-friendliness.
TC Helicon’s offerings rarely let us down. This pedal follows the same pattern. Its tone can serve as an aural backdrop to your singing and give it further depth. Going all the way to extremes, it can make it sound like your voice came from another planet or solar system. Putting hyperbole aside, we can all agree that you should give the pedal a shot.
When adjusting the first knob, the delay time rarely corresponds to the desired value. If you tap the tempo to set the quarter-note time but then pick quarter notes on the knob, the result is a delay equal to twice the tempo you tapped or an eighth-note delay.
This issue occurs only seldom; occasionally (20%), you can fix it by rotating the knob back and forth a few times and then turning it counter-clockwise to the quarter-note position. Sometimes the unit will “lock up,” meaning you won’t be able to press any tempos, and when this happens, holding the button down has the same effect as stepping on it: it turns the bypass on and off.
The situation will remain unchanged until you unplug the device, wait a few seconds, and reconnect it. You can’t do this during a performance since it causes a loud pop in the signal line. There is hardly little friction when turning the Feedback and Mix knobs. The input jack is located in the rear of the device, which places the cable in danger of being yanked across the controls whenever you use the unit.
Boss VE-5 Vocal Performer
One of the simplest and least expensive methods to experiment with your live vocals is with the BOSS VE-5 reverb pedal.
The VE-5 is a compact vocal processing pedal that borrows heavily from the BOSS VE-20 and packs six powerful effects and many great presets. In addition, you can make your harmonic parts or vocal beats and play them live with the VE-5’s in-built phrase looper. With the BOSS VE-5 vocal effects processor, you may add a wide variety of exciting new effects to your performances.
You’ll have a great time with your BOSS VE-5 vocal processor, whether you’re the lead singer of a rock band, a beatboxer playing on the street, or a webcaster searching for a fun way to improve your voice. The VE-5’s success can be attributed to the fact that it contains six of BOSS’s finest voice effects, including Delay, Dynamics, Reverb, Pitch, and Tone.
You can use the Radio, Distortion, and Strobe effects independently of other Tone/SFX settings. You can get the traditional hard-tuned sound with the Pitch Correct setting. Not only that, but the VE-5 has an incredible number of factory presets for various effects. That makes it simple to explore the various voice-upgrade options offered by the BOSS VE-5.
You can’t help but be excited by the VE-5’s built-in phase sampler if you’ve ever been impressed by the unique effects and live performance options afforded to a single vocalist by a basic looper.
With this looper, you can do real-time vocal layering, singing in harmony, or even as a duet. In addition to its use in live performances, you can create vocal percussion loops to offer a new rhythmic depth. The VE-5’s phrase looper has endless potential applications.
You can do much with the BOSS VE-5 voice effects processor, whether you leave it on your studio workstation or clip it to your microphone stand on stage. It runs entirely on batteries and can play for up to nine hours on four AAs.
Connecting optional footswitches allows you to manage the VE-5’s features live. You can easily incorporate backing tracks into your solo performance by connecting an external stereo sound source through the auxiliary input. BOSS made the VE-5 as portable as possible by including a microphone inside, so you can try out different vocal effects without bringing a separate microphone.
Character & Sound:
The sound quality is excellent, with excellent reverbs and other effects. Get that authentic “live vocal” vibe with this. You’ll need to practice with it to find the exact sound you want before using it onstage, so it is recommended to do so.
Before trying them out in a real-world setting, you might be fooled by some similarities. The VE-5 also has a handy function that allows you to assign your most often-used sounds to a dedicated button. You can do this with up to three of your favorite tunes.
The unit’s central buttons are labeled A, B, and C. You can use them to store your preferred audio and then access it with a single click. This setting is ideal for a live performance because it requires no adjustments to be made to the device.
The VE-5 can produce high-quality sound and will likely find favor with many singers thanks to its compact size and portability. Then again, there’s a lot of competition at this price, and other identical machines from other manufacturers provide perks like stereo operation and longer looping lengths.
The Boss VE-5 is a good device to play with and experiment with, but you should check out what else is available at your local music store before making a final decision.
Some customers have complained that the quality of the effects could be higher on competing products; nonetheless, compared to the effects that come standard on many inexpensive mixers, they are a definite step up. An AC adaptor can also power the device if you’re uncomfortable using batteries during performances.
It’s unfortunate, though, that you must purchase this component individually. It’s great that there are two color options to choose from when purchasing the device, but either one could be too flashy for some performers.
This was the Top 12 Delay Pedals For Vocals 2023 From Top Brands, a top where you can find all the solutions on the market in terms of delay pedals and units made for vocals and have all in one solution. Using these solutions, you will have no more problems in live contexts, and you will take control of the tone you give to the sound engineer.
The Boss VE-20 Vocal Performer is included here because it replaces several pedals with a single device, especially for solo artists who need to purchase many individual pedals. This effect pedal has a simple layout, with a few designed to help users trigger effects like Harmony and an LCD for easy communication.
This pedal has a built-in looper with a 38-second recording time and is designed to be stored in memory slots; it’s a great choice if you don’t want to turn into a mini-sound engineer using the same red interface the major manufacturers.
The TC-Helicon Mic Mechanic 2 is a 9-volt pedal with a wide variety of effects, some of which are complex enough to be utilized in a recording studio if the singer requests it. If you play correctly 95% of the time, the pitch corrector will perfectly raise your pitching by some other 3%.
However, the pedal shines because of its innovative ‘Adaptive Tone’ feature, which modifies your tone and volume in real-time. When applied in a live setting, where the music producer is responsible for finding solutions, we are still determining how well this feature will work. The performer can use this feature for instructional purposes since it works quite well and improve comprehension of specific ideas.
That’s what we learned from the Top 12 Delay Pedals For Vocals 2023 From Top Brands, a top that gave you breaking techniques for improving your vocal tone in both the recording and performing environments. We hope you’ve found it useful in expanding your range of tonal control, and if so, feel free to bring up the subject of your gear at your next band practice.
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Death metal enthusiast here. I am a Romanian musician and producer with over 13 years of experience in the music industry. I’ve experienced all types of Metal up until now, playing Melodic Death Metal, Brutal Death Metal, and Black Metal with different bands. Learning by doing is my base principle, which is why I’ve been drawn to sound design from an early age. Read more…