If you’re drawn towards pedals that are gifted with different capabilities and offer various reverse effects, then today’s topic is especially for you. Read on as we talk about pedals from several brands, including Boss, BigShot, Mooer, Earth Quaker Devices, Walrus Audio, Electo-Harmonix, Red Panda, Danelectro, Keeley Electronics, and Harley Benton.
Reverse settings can be found on many pedals that may have varying agendas. For instance, reverse modes can be seen on looper pedals that allow you to change the order of the recorded loop. We will discuss some loopers today to further detail this aspect.
More common usage of the reverse effect can be seen on reverb and delay pedals. Apart from the multitude of reverb/delay types out there, reverse delay and reverb units are fundamental if you’re looking to create spacious ambient soundscapes.
But before we get acquainted with the pedals on our list, let’s first refresh our concepts on what a reverse reverb pedal is and how it can be used during a studio session or a live performance.
What is a reverse reverb pedal & how to use it?
In a nutshell, the reverse reverb pedal is a pedal that analyzes your original signal, takes chunks out of it, reverses its order while adding reverb to it, and then throws it back into the mix, creating mesmerizing reversed reverberated trails. You can use this effect to your advantage in many ways.
You could use reverse reverb to add depth to your slow-paced guitar solos. You could also use it while adding gentle fillers in a song’s bridge section. Finally, using the effect behind single-chord strums adds a whole new dimension to your sound.
Top 12 Reverse Pedals 2023 (Delay, Reverb & More)
1. Boss RC-500 Loop Station
Looper units from Boss are commonly used by mainstream musicians like Ed Sheeran.
Regardless of where you are in your journey as a musician, a looper pedal can be a fantastic tool in your arsenal. For instance, you can experiment and brush up on your skills by jamming over different rhythm tracks to add creativity and versatility to your playing.
If you’re a songwriter, you can load drum loops and rhythms on your trusty looper, write musical passages, and even complete songs. Although looping units come in all shapes and sizes, Boss has some of the most comprehensive and multifunctional loopers in the market.
Key Features:
- Dual Tracks
You’ll find a separate section on the left for 2-track looping. The two faders adjust the levels of each track. Below each fader is a status light that changes color to show when the loop is in recording, playback, and overdub mode, among other things. Each track has a dedicated “Edit” button to make changes when necessary. - Reverse & Other Parameters
Through the Edit menu, you can adjust various parameters pertaining to each track. Firstly, you can decide the order in which a track should be played back. You can choose to have it play in reverse or normally. You can also decide if a recorded segment should be played once or continuously in a loop form. Panning or setting the level of each loop can also be done here. Finally, other features like setting the tempo or selecting the input and output ports for looping can also be adjusted through the menu. - Display & Memory
The display on the RC-500 is handy in that it not only shows important information regarding the looping process but also changes color according to the track LEDs so the user can know exactly which mode the pedal is in at any given moment, regardless of the lighting conditions. To the right of the display is a multifunctional knob that can be rotated to select or edit parameters. You can also simultaneously press and rotate the control to change parametric values in larger increments/decrements. - Rhythms & Settings
Below the display is a two-button rhythm section. The “Tempo” button can be used as a tap tempo control to set the speed of the rhythm. When the tempo is set, the tempo LED blinks to indicate the set speed. The “On/Off” button switches the rhythms on, off, or on standby for playback. Next to the rhythm section are the “Memory” and “Menu” buttons, where the former adjusts loop and expression pedal/footswitch settings, and the latter makes global changes to the unit. - Mic Settings
Towards the right is the mic section with a couple of controls. The “Mic Level” knob adjusts the mic’s volume connected to the back of the unit. The “Input” button activates or deactivates 48V of phantom power to drive the mic. The tiny LED lights up to show when the phantom power is on. - Footswitches
On the RC-500 loop station, you’ll find three footswitches that take on the responsibilities of recording, playing back, and stopping loops. Most of this is done via the left and central switches. The 3rd switch selects the different loop tracks. - Inputs/Outputs
The back panel is loaded with exciting input and output options. You’ll find an XLR input on the far left for connecting a mic. The RC-500 also offers stereo quarter-inch inputs and outputs to send your output signal to two different amps. A separate midi section provides in and out ports, and the nearby jack offers footswitch/expression pedal connectivity. Finally, the unit has a 9V power input and a USB jack for computer connectivity. If you don’t have a power supply, you can always use 4 AA batteries to power the RC-500.
Pros:
You can practically do a live set on your own with this powerful looper at your disposal. The RC-500 offers pristine 32-bit looping for up to 13 hours. You can organize your loops in 99 memories and arrange them for quick recall. The user interface is straightforward, and the three footswitches make looping a cinch.
Cons:
If you’re an impatient musician who wants everything easily accessible on the top layer without having to dive deep into menus and submenus to find what you need, the RC-500 will take some getting used to. This looper from Boss is multifunctional and could be a great companion during looping adventures if you initially invest some time.
2. BigShot ABY True Bypass Switcher
The BigShot ABY may not be your typical pedal in that it doesn’t have any processing effect on your sound.
Measuring just 2 inches by 3.6 inches by 3.9 inches, this tiny device comes from a Canadian company named Radial. Each of these units is hand-crafted, and a lot of hard work and attention to detail goes into the production to push forth a quality product in the market.
It does, however, perform an essential function and can be extremely handy if you have a couple of amps on hand. As you may be able to judge by its name, this is a switcher pedal. This means you can connect two amps to the unit and then switch between the two.
Key Features:
- Back Panel
The input/output section is relatively easy to comprehend. There’s one input on the unit that can connect a guitar directly, or you can have a patch cable from your effects chain connecting to the unit. Next to the input is an “always on” port to connect to a guitar tuner. There’s also a 9V power input on the back for connecting a power supply. Finally, two outputs marked “Out-A” and “Out-B” that you can connect different amplifiers to for switching. - User Interface
An ABY switcher is a device that allows you to select either one of two amps or both amps simultaneously. The left foot switch marked “Both” activates both amplifiers side by side while the switch on the right cycles between the two. - Adjustments
When working with two amplifiers simultaneously, several issues come into play. Things can get noisy, and you can experience low-end hum. This is why the Bigshot ABY has a “GND Lift” or ground lift switch to cut this unwanted noise so that things are kept clean. Any remaining noise can be irradicated using the “ISO” switch, isolating both outputs for clean operation and vivid articulation. Finally, just like multiple mics in a setup, dual amps can pose phase problems too. On this ABY switcher, you’ll also find a phase reverse toggle switch to modify the behavior of one of the amps for phase correction. When activated, 180-degree phase reversal/inversion occurs on output B. - Why Do You Need It?
There can be several applications when it comes to amp switchers. You can have separate setups for your acoustic and electric guitars. Having a switch can easily switch between the two on a live stage. Secondly, you may have two amps on hand where one handles clean tones better while the other is ideal for a distorted signal. Switching between the two can be done quickly with an ABY box. Finally, you could have your distortion effects connected to one amp and your ambient pedals to another and use a switcher to help blend both sounds.
Pros:
This hand-crafted ABY box can serve many purposes, whether on a live stage or in a studio recording scenario. The option of selecting one of two amps or both units simultaneously was never this easy. The pedal is very well-built and will stand the test of time. Also, the ease of use cannot be overstated.
Cons:
The “always on” tuner port can be a bit of a nuisance and a distraction when the tuner is not needed. Perhaps an on/off switch in this regard would’ve been a good addition to the unit. However, the ABY switcher does what it’s designed to do effortlessly.
3. Mooer GE300
The Mooer GE300 is the flagship guitar effects processor and offers everything good from the Mooer line of effects.
The GE series is versatile and offers various processors with varying capabilities and affordability levels. The complete GE line includes the lower-end GE100, GE150, GE200, GE250, the feature-rich GE300 LITE, and the most powerful Mooer GE300 unit.
The flagship unit comes with a long list of specs, including high quality, crystal clear sound, as many as 164 highly customizable effects, FX loop enablement, 30 minutes of stereo looping, all the necessary inputs/outputs, and a rock solid exterior built to serve you for years to come.
Key Features:
- Reverse Effects
There are as many as 14 different delay effects on the Mooer GE300. A unique delay effect called “Reverse” duplicates the original signal, reverses it, and then adds it back as delayed repetitions. Other delay types include Digital/Analog, Dynamic, Real, Tape, Mod, Dual, Muli-Tap, Ping Pong, Vintage, Galaxy, Fuzz, and Crystal delay, all of which have tons of adjustable characteristics. In the Reverb section, you’ll find 11 reverb types, including Reverse, Hall, Room, Plate, Spring, Filter, FL (flanger), Swell, Mod, Shimmer, and Dist-reverb (distortion). In addition, in the looping section, you can create more “reverse” magic by setting the order of the loop to either forward or reverse. - Output Leveling
Starting from the left, the processor has a volume control section. You can control the master volume of the output here. You also get separate knobs for adjusting the headphone level and XLR outputs here. - Display, Footswitches & More
A large 5-inch TFT display on the GE300 offers excellent clarity under any kind of lighting. When in standard mode, the screen will display the different output levels, the effects assigned to the expression pedal, the tempo, and the name and number of the selected preset. The eight rectangles below the preset name show the functions associated with each of the eight footswitches. Apart from these, two additional footswitches help to scroll through the preset banks. Finally, the last thing on the processor’s right is the expression pedal, which can be assigned varying responsibilities. - Navigation
To the right of the display is a cluster of controls for navigation. The “Select” knob can be rotated to cycle through different features and then pressed to select a particular setting. The arrow buttons next to it can help scroll through different pages. Finally, the five knobs below these controls are used to change various parameters of different effects shown on the display. The user interface is also loaded with lots of LEDs to help the user determine which effects are activated at a glance. - Back Panel
The rear panel is highly detailed. The 9V power input and power on/off switch are on the far right. Next to these is a couple of MIDI-enabled In and Thru ports. In the output section, you can find stereo XLR outputs, a headphone output, and quarter-inch stereo outputs. The “Send” and “Return” section also has pairs of quarter-inch jacks. On the input side of things, you’ll find a quarter-inch input with a switch to toggle between guitar and line input. You also get an auxiliary input to plug in any portable devices to jam along with. Finally, the back panel has a quarter-inch jack for an expression pedal and a USB port for updating the firmware, managing presets, and recording to a DAW.
Pros:
The GE300 can be a great option if you don’t want to go through the tedious process of assembling a pedal board with single-effect pedals. With 164 effects at your disposal, you’ll never find yourself in a situation where you’re unable to dial in the sound that you need. Also, the input/output options on this unit are plenty.
Cons:
Granted that this effects processor does many wonderful things, it comes with a hefty price tag. Also, the buttons and footswitches are not capable of sending CC messages. In addition, there are many menus and submenus you need to get through to make the required changes, and any wrong moves take several steps to rectify.
4. Earth Quaker Devices Avalanche Run
This second iteration of the Avalanche Run by Quaker Devices improves on many features found in its predecessor.
Packed in a rugged 2.25 inches by 4.15 inches by 4.65 inches, the V2 uses a much superior reverb engine. The dual inputs/outputs on board give way to stereo connectivity, and the compatibility with external expression units makes the overall user experience very exciting.
The powerful circuitry under this beautifully designed blue and white unit with an avalanche graphic on it is multifunctional. The Avalanche Run is, in fact, two pedals packed into one as you get full use of a delay and reverb section, among many other features waiting to be explored.
Key Features:
- Time & Repeats
As the name shows, the “Time” knob on the top left controls the delay time. This value can be set anywhere between 0 and 2000 milliseconds. The “Repeats” knob, on the other hand, controls the delay’s feedback. When the knob is turned down fully, no repetitions will be heard. However, increasing the value will deliver self-sustaining infinite oscillations. - Tone & Mix
The pedal has a “Tone” knob that handles the equalizing responsibilities. You can turn this knob to the right for more treble or the other way for more enhancements in the lower frequencies. Next is the “Mix” knob that acts as a blend control. The wet signal will be eliminated when the Mix control is turned fully counterclockwise. However, you can have 100% of the wet signal when moving to the far right. - Exp
A lot of cool stuff happens when the “EXP” knob is manipulated. With an external expression pedal, you can control any parameter marked around this knob. These settings include “Decay,” “R Mix,” “Time,” “Repeats,” “D Mix,” and “Toggle.” Decay refers to the stay of the reverb effect, while R Mix controls the blend between the original and reverberated signal. The Time setting here dramatically enhances the delay time and is much more profound when assigned to an expression pedal. Other selections alter the delay feedback and the blend between the dry and delayed signal. Finally, the Toggle setting is most important for reversing the delay effect or having it run normally. - Ratio, Decay & Mix
The knob comes in handy when you’re looking to alter the delay tempo The subdivisions you’re able to choose here include “Quarter Note,” “Dotted 8th,” “Quarter Note Triplet,” “8th Note,” “8th Note Triplet” and “16th Note.” The “Decay” & “Mix” knobs pertain to the Reverb effect. The Decay sets how long the reverb effect will stay on before it starts to fade away and return to its original state. The Mix controls the blending between the original signal and the reverb effect. - Reverse/Normal/Swell
Below the eight knobs is a switch that helps choose one of three settings: “Reverse,” “Normal,” and “Swell.” Whatever setting is selected will vary the behavior of the whole pedal. When the Reverse setting is toggled, the delay effect is reversed while the reverb acts normally. In Normal mode, you get a standard delay and reverb effect. Finally, in Swells mode, you’ll notice volume swells depending on the pick attack/playing style. The more aggressive the attack of the playing hand, the more pronounced the volume swell will be. - Connectivity
There are 4 top mounted quarter-inch jacks on the unit. Two of these are stereo inputs, while the other two work as stereo outputs for connecting two a couple of amps simultaneously. To the pedal’s left is a quarter-inch jack connecting an expression pedal. The EXP control can assign different parameters to the external expression unit. - Footswitches
The Avalanche Run has dual footswitches. Marked “Activate,” the footswitch on the left activates or bypasses the unit. You can also hold down the switch to momentary enhances specific musical passages by adding a heightened delay or reverb effect. Furthermore, the footswitch on the right can be tapped to set the tap tempo.
Pros:
The expression pedal connectivity is very creatively handled. You can assign a whopping six different parameters to the external unit for exciting reverb and delay-related outcomes. The ratio knob is a handy tool for setting the tempo of your delay effect. Finally, you can run the pedal in normal, reverse, or swell mode by flipping a switch.
Cons:
The Avalanche Run is quite greedy when it comes to power consumption. Powered by 9V, the pedal demands 425mA of power. Also, the unit is on the larger side, so you’ll have to free up some space to set it on your board. Finally, the V2 is a bit pricey, essentially two pedals in one.
5. Walrus Audio Lore Reverse Soundscape Generator
Walrus Audio pedals have some of the most captivating graphics on them.
Taking a page from the Avalanche Run’s book, the Soundscape Generator from Walrus Audio is an ambient pedal that combines reverb and delay effects to create immersive wide-ranging sonic landscapes.
The pedal comes in a dual footswitch design, measuring 2.25 inches by 3.62 inches by 4.79 inches. Made from solid steel, everything about this pedal exudes good quality. Add to that the program knob that lets you choose different effect combinations, and you have yourself the perfect ingredients for a mesmerizing rock show.
Key Features:
- Reverse Delay into Reverse Reverb
While on most pedals, you’ll find a reverse delay or reverb effect separately. The Reverse Soundscape Generator has found a way to put them both together for some hauntingly beautiful interactions. Both effects are merged and first reversed, unreversed, and then reversed a second time. This change in the sequence makes way for some exciting results especially suited for minor chord strums. The “X” knob on the interface can be used to control the intensity of the reverse effect. Moving clockwise will enhance the reverse-ness of the effect. - Reverse Delay into Octave Up Reverb
The second program setting makes things sound airy and spacious. A lighter version of the reverb is mixed with octave-up harmonies. If you’re a fan of expansive ambiance, stick to this setting. Here again, the X knob comes into play and can be adjusted to increase or decrease the stay or decay of the reverb effect. If you want to add some shimmer to the mix, you can do so by adjusting the “Regen” knob. This setting makes gentle fingerpicking passages sound extra special. - Reverse Delay into Octave Down Reverb
The principle is the same here; however, the reverb representations in this mode are a lot darker. There’s a lot of harmonic distortion and filtering in this program mode, creating a thick, almost murky sound. You can further enhance the sound by using the Regen knob to adjust the positioning of the lower octave. Here too, the X knob comes in handy for controlling the reverb decay. If you’re a big fuzz nut, this could be the program for you. - Reverse Delay into Forwarding Reverb
As the name suggests, you can combine reversed and forwarded delays together in the fourth program setting. This gives you plenty of options. You can experience lengthy, expansive pad ambiances in the background of whatever is played. Octaves can be lowered using the “Feedback” control, while Regen raises the octave of the reverse reverb. Finally, when increasing or decreasing the reverb decay, the X knob comes to your aid. This setting is ideal for varying pick attacks and single-chord strums. - Pitch Delay into Pitch Delay
Ideal for some short staccato patterns; many crazy things happen in this mode. The delay times can be increased or decreased to create sequencer or even harmonizer-like tonal characteristics. Two pitch delays are combined, which is when the internal circuitry of this ambient pedal takes over and creates opposing pitch shift directions. The Regen and Feedback knobs can be manipulated to vary the number of delay repetitions. The X knob comes in handy to alter the intervals at which the octaves manifest themselves. - Inputs, Outputs & More
All the connections this pedal offers are mounted at the top. The unit features a single quarter-inch input and a similarly sized output. Between these is the 9V power input. The pedal features two footswitches marked “Bypass” and “Tap.” The footswitch on the left activates or bypasses the unit, and the one on the right is used as a tap tempo control for the delay. The Tap switch also does other wonderous things like adjusting the clock rate when long pressed.
Pros:
Perhaps no other pedal offers such a rich collection of ambient modes that combine different delays and reverb variations. The cleverly engineered parameter knobs adjust to the programs automatically to perform various functions. Finally, there are a lot of reversed delays and reverbs that can be experienced through the Walrus Audio Lore Reverse pedal.
Cons:
Everything this pedal does is exceptionally good. But not having expression pedal capabilities is a significant setback considering the endless possibilities that could be tapped into. Furthermore, maybe the folks at Walrus Audio could add stereo outputs to the next version so you could throw your signal out to two widely spaced amps on a live stage.
6. Electro-Harmonix Attack Decay Tape Reverse Simulator
This orange, black, and white box from Electro-Harmonix is pure magic.
Called the Attack Decay Tape Reverse Simulator, the pedal delivers a sound reminiscent of synthesizers. As the name suggests, the pedal allows the utmost control over parameters like attack and decay, which opens doors to creative applications.
There’s a lot of volume-based enveloping under the hood of this Electro-Harmonix unit, allowing you to experiment with subtle to abrupt volume swells. All in all, you get a pedal that takes a lot of features from the original Attack Decay unit released in 1980 while adding a wide array of exciting new flavors.
Key Features:
- Poly, Sense & Presets
The forte of this Electro-Harmonix unit is the production of reverse swells. On the top left is a separate section that controls different aspects of the Attack Decay. The pedal can operate in “Mono” and “Poly” modes. In Mono mode, the volume swells range from zero to max and are applied to all played notes simultaneously. In Poly mode, the volume enveloping is applied to all notes individually. Another great feature of the Attack Delay pedal is saving up to three presets for instant recall. The buttons marked 1, 2, and 3 can be used to select the desired preset, while long pressing any of these will save the current setting on that preset. - Connectivity
On the right of the pedal is a standard quarter-inch input jack, next to which is a “Send” jack that duplicates the input signal for sending out to an effects loop. On the left side is a corresponding output jack. Also, since the Attack Decay pedal is FX loop enabled, any signal from a chain of effects can be input through the neighboring “Return” port. Finally, you’ll find an expression jack for an external expression unit. The great thing about this unit is that you can assign any available parameters to the connected expression pedal. - Volume & Blend
A row of four large knobs handles the significant behavioral aspects of this unique pedal. Starting from the left, the “Vol” knob acts as a master volume for the unit. Next to it is the “Blend” knob that allows you to set the mix between the original and processed signal. Here you can also select the merging of the wet and dry signals before they are affected by any volume enveloping. - Attack & Decay
The “Attack” time on the unit can be set anywhere between 4 milliseconds and 8 seconds. The speed with which the volume swells are activated can be set using the Attack control. The “Decay” knob works similarly but controls the rate at which the volume effect will fade away. The same time range of 4 milliseconds to 8 seconds is also available here. The time value increases when the knobs are turned clockwise. - Harmonix, H. Vol, Tone
Above the four main knobs are three smaller knobs that control the Harmonix section of the pedal. The main “Harmonix” knob increases or decreases the gain/saturation of the built-in distortion effect the Attack Decay pedal offers. The volume of the Harmonic distortion can be set using the “H. Vol” control, whereas the “Tone” knob adjusts the brightness of the distortion’s tone. Turning the Tone control counterclockwise will enhance the lower frequencies.
Pros:
If you’re a fan of volume swells, you can create extensive reverse swells using the Attack Delay pedal. The separate attack and decay controls make dialing in the right sound extremely easy. The built-in distortion engine is unique and can be separately adjusted through dedicated controls.
Cons:
This unit is a good alternative to the more traditional expression pedal-based volume control. However, some may think the smooth volume transitions a treadle provides cannot be replicated. Still, the Attack Decay pedal provides multiple tone shaping controls and reverse volume effects second to none.
7. Red Panda Tensor
This nicely crafted pedal comes in a dual switch design and measures 2.5 inches by 3.05 inches by 4.75 inches.
The Tensor from Red Panda specializes in fun effects, including stutters and glitches, reverse loops, tape stops, and multiple modulation types. It also has fascinating looping features that offer 9.4 seconds of sound during mono operation.
The stereo looping time is much lesser and comes down to 4.7 seconds. You can also make use of 31 presets and makes adjustments to save your settings through a Midi connection via the available USB port.
Key Features:
- Speed & Time
The tape speed can be set through the “Speed” knob. The best place to start is at the 12 o’clock position. Deviating from the center will change the playback order. When turning counterclockwise, the playback speed can be reversed. The “Time” control is designed so that the playback can be compressed or stretched without any change in the pitch. The knob offers a stretch-to-compress ratio of 1:4, 1:2, 1:1, 2:1, and 4:1. At any setting that goes past 2x, tonal glitches appear. - Pitch & Blend
While the Time control deliberately keeps the pitch in check, the dedicated “Pitch” knob allows you to change the pitch of the sound to your heart’s content. The available range for pitch shifting is between -2 & +2 octaves. Having separate controls for Time and Pitch means that you can set both aspects independently. In addition, the “Blend” control helps set the ratio between the original and processed signal. You can experience a 100% wet or 100% dry signal on both extremes. - Rand
The “Rand” or Randomization control is quite unpredictable yet fun. When the knob is turned counterclockwise, the randomization is subtle and occasional. As you move clockwise, the randomness will intensify and become more erratic. Parameters like pitch and speed will start to act up in different ways. - Hold Switch: Ovr, Rec, Nxt
The “Hold” switch is what activates the looping capabilities. Depending on where the switch is set, the pedal will react differently. In “Rec” mode, the loop will be recorded. In “Ovr,” you can overdub as the loop is being played back. Finally, in the “Nxt” mode, the pedal switches between two buffers. This way, you can record through one buffer while the other plays back the previously recorded loop. - Dir Switch: Fwd, Alt, Rev
The “Dir” or direction switch is all about controlling the direction of the loop. Here you can choose to play the loop normally through the “Fwd” or forward setting or have it play in reverse order when the switch is set to “Rev.” Finally, the “Alt” or alternate function switches between both directions. - M & L
The “M & L” switch is simple in its execution. You can toggle between Momentary or Latch features, which apply to the looping section. When set to M, the loop will be recorded/overdub as long as the Hold button remains pressed. As soon as the Hold footswitch is released, the loop stops. However, in the L or latch setting, the loop function is activated when the switch is pressed once and stopped when pressed a second time. - Connections
All the connection options on this pedal can be found on the top panel. The panel includes a quarter-inch input and output. Also present here is a 9V input to power the unit. Lastly, the Red Panda Tensor has an expression pedal jack to connect an external unit. The great thing is that any number of parameters can be assigned to the toe down and heel down position of the external expression pedal.
Pros:
The pedal allows independent pitch shifting and speed changes depending on the requirement. The looping controls are very detailed, and it’s easy to set the direction of the loop to reverse or forward by making use of user-friendly switches. In addition, the pedal works equally well for guitars, synths, keys, and drums.
Cons:
Although the Tensor unit has much to offer, it has a hefty price tag. You can find slightly more basic looping units in the market that cost much less. Besides the price, the unit performs well and can be a good addition to the setup.
8. Danelectro Back Talk
Anyone who is a fan of the reverse delay effect should try to get their hands on the Back Talk by Danelectro.
The original Back Talk unit that this pedal draws inspiration from was one of its kind when it was first released in the 1990s. This modern reissue comes in a much smaller form factor and is undoubtedly very affordable, not to mention readily available.
If you’re looking to just noodle around with the delay effect or trying to make it part of the songwriting process, the Back Talk is great for both scenarios. It will effortlessly take your original signal, extract passages from it, reverse them, and play them back as repetitions.
Key Features:
- User Interface
As simple as pedals can get, the Back Talk pedal boasts great ease of usage. The single foot switch activates/deactivates the unit, which the LED between the knobs indicates. Three control knobs on the user interface are enough to dial in some crazy reverse delay sounds. - Mix, Speed, and Repeats
The “Mix” control sets the ratio between the delay and unprocessed signal, and the “Repeats” knob below controls the feedback or number of repeats. Moving the knob clockwise increases the number of reverse delay repetitions. Also, unlike other pedals, the Back Talk won’t self-oscillate but add layer upon layer of repeats till the feedback value is reduced. Finally, the third and final knob controls the “Speed” of the delay or length of the delay time, which comes to a maximum value of 1 second. - Connectivity & More
The pedal has a single soft action footswitch and boasts true bypass capabilities. The connections are all top-mounted. You’ll find a quarter-inch input and output concealed on this panel. Also, located in the center of both jacks is a 9V port to power the unit. - Recommended Settings
It’s amazing how just three knobs can dial in various reverse delay effects. The pedal’s booklet is very helpful in this regard, as it offers a few recommended presets that focus on reverse delay sounds, like the “Nice Long Ambience” & “Pure Psychedelic Delay” settings. Some other suggested settings include “Rockabilly Reverse Slap,” “Guitar Solo Delays,” “Washy Repeats,” “Barely Noticeable,” “Long and Angelic,” and “Just One Repeat,” all of which sound great and must be tried. - Usage
You can use this Back Talk in multiple ways. First, you could strengthen your lead playing by having the delay effect supplement your solos. Another way to use the reverse delay is to add it behind your single chord strums like pads for an ethereal ambient feel. Perhaps the best way to use the pedal is to combine it with Delay and Fuzz effects. The fuzz thickens the sound while the delay and reverb complement it by adding immersive cavernous soundscapes.
Pros:
The Back Talk pedal is a close recreation of the classic Back Talk unit from decades ago. The internal circuitry equips the uncluttered layout with tons of sonic capabilities. You can easily dial sounds reminiscent of tones associated with John Frusciante, Johnny Buckland, and Mike Einziger of Incubus.
Cons:
Although the Back Talk pedal is great, pedal enthusiasts and audiophiles worldwide would argue that it may not be as good as the original version. The reissue doesn’t seem to have the same warm tone or softer curves going into the delay effect.
9. Walrus Audio Descent Reverb/Octave Machine
Offering three different reverb types and through some octave magic into the mix, this pedal is worth checking out.
The graphic on the user interface is indicative of the wide sounding cavernous reverbs you can conjure up with this unit. The Descent Reverb/Octave Machine measures 1.56 inches by 5.62 inches by 4.62 inches and has much to offer in its bulky form factor.
By looking at the control layout, you can be sure that the pedal gives you the utmost control over the varying features of the different reverb modes. Furthermore, hidden under the hood are a couple of dip switches that can enter the pedal into stereo or mono mode, depending on user preference.
Key Features:
- Selector Switch
The most important control on this Walrus Audio pedal is the mode switch. Toggling this can give you access to three reverb types, including “Hall,” “Reverse,” and “Shimmer.” With the multitude of controls on the user interface, you can shape each mode the way you like. The knobs will adjust automatically to change different variables relevant to the mode. - Reverse Mode
The “Reverse” mode puts this pedal on today’s list. In this setting, you’ll hear gentle feedback that plays back whatever was originally played but in reverse. You can control how much of the original signal passes through the reverb process using the “Dry Mix” knob or set the ratio between the wet and dry signal through the “Wet Mix” control. The “Reverse Time” knob selects the pre-delay time or the time it takes for the delay to come into effect when a note is played. If you want to add lengthy trails to your reverb, you can do so but moving the “Diminish” knob clockwise. Finally, the +1 and -1 buttons set the octaves of the feedback. You can turn the octaves off by moving the knobs entirely to the left or dial in sub-octaves as you move to the right. Finally, adding dullness or brightness to the tone can be achieved simply by manipulating the “Tweak” knob. - Hall Mode
The “Hall” setting is all about spacious ambient sounds. The “Dry Mix” control works the same way as seen in the reverse mode. The “Reverb Time” controls the length of the reverb decay. The “Diminish” control is extremely interesting as it can produce varying acoustics that mimic rooms with different characteristics, such as flat plane walls or rocky walls. Instead of tone shaping, the “Tweak” knob controls the damping of the reverb. The threshold is lowered when the knob is turned clockwise, and more frequencies can pass through. The “Wit Mix” will enable you to dial in the ratio between the original and processed signals, and the +1 and -1 knobs throw some higher or lower octaves into the mix. - Shimmer Mode
The “Shimmer” mode adds immersive happy-feel textures to your playing. Especially recommended for chord work, this setting sounds expansive and shimmery. The “Reverb Time” sets how long or short the reverb trails will be, while the “Diminish” knob puts you in charge of the number of repetitions. Moving in a clockwise direction will increase the feedback or number of repeats. Like in the Hall mode, the “Tweak” setting allows you to manipulate the acoustics of a small room or a more expansive cavernous reverb sound. Here too, the +/- 1 controls will add various octaves above or below your original signal. The blend ratio of both signals can be set through the “Wet Mix” control. - Footswitches
On this reverb unit, you’ll find two footswitches. The one on the left is marked “Preset” and is used to switch between different presets. The “Bypass switch is tasked with turning the pedal on/off and also helps in saving the current settings when long-pressed. The corresponding LED will flash to indicate that the preset has been stored. - Expression Pedal & Connections
The “Expression” jack is a great addition to any reverb pedal, allowing you more customizable options. The Descent Reverb by Walrus Audio is exceptionally well endowed, as you can assign multiple parameters to an external unit. Simply press down the toe end of the pedal and increase the values of the parameters you wish to be assigned. Then press the heel down and lower the values of these parameters to assign the starting point of the sweep. It’s that simple! Apart from this, you get a guitar input, a pair of stereo outputs, a 9V power input, and a remote input, all of which are top-mounted.
Pros:
With this many controls at your disposal, you can genuinely explore every nook and cranny of the three reverb types that can be accessed using the lone switch on the interface. As the saying goes, “the more, the merrier.” Also, the expression pedal input is very innovatively engineered and makes the usage of this pedal all the more pleasurable.
Cons:
The pedal works best with guitars. If you’re trying to experiment with transient-sounding instruments like drums or synths, you’ll notice that the Descent Reverb will find it hard to keep up. Furthermore, the pedal is a bit expensive, and cheaper options are available if you’re willing to overlook a slight downgrade.
10. Keeley Electronics Synth-1 Reverse Attack Fuzz
The Synth-1 offers a perfect amalgamation of fuzz sounds, synth waveforms, and volume swells.
Packed inside the colorful but rugged exterior is some monophonic technology that uses Sawtooth, Sine, or Square waves, while reacting to singular notes being played. There’s also a lot of low-pass filtering happening under the hood.
You can dial in subtle to abrupt attack times for your volume swells to keep your listeners guessing what they’ll hear next. The Synth-1 keeps things nicely customizable by offering expression pedal connectivity to take control of things.
Key Features:
- Level & Attack
First and foremost, the “Level” knob controls the overall volume of the Synth-1. The “Attack” knob controls how quickly the Synth-1 reacts once the original note is played. You can set the attack value anywhere between 1500 milliseconds and 4 milliseconds. The pedal is exceptional in delivering exciting reverb swells when the controls are dialed in correctly. One thing to note here is that whatever value for the Attack is set will apply to both the dry and wet signal. - Blend & Filter
The third knob in this section is the “Blend” control. With this knob, you can choose the intensity of the processed signal compared to the dry one. Turning clockwise increases Synth sounds, while turning the other way adds more dry signal. For starters, the 12 o’clock position is the way to go. Having the blend knob turned down using a clean tone makes chord work sound ideal for church music and other ambient applications. - Waveform Switch & Filter
On the bottom right of the pedal is a black switch that can be used to toggle between different waveforms for the Synth-1 to react to. The options here include the “Square” wave, “Saw” wave, and “Sine” Wave. The “Filter” knob offers a range between 50Hz and 5000Hz, allowing the user to select the cutoff frequency of the waveforms. - Chaos Switch
The Synth-1 can operate in normal mode or “Chaos” mode. When in the “Chaos” setting, you can dial in a combination of fuzz tones, expressive Wah sounds, and octave-based wizardry. Throw in an expression pedal and tweak the nearby filtering knob to create dreamy wave patterns. - Connections
The single-foot switch on the pedal can be used to turn the pedal on or put the Synth-1 in bypass mode. The right panel has a quarter-inch jack for the expression pedal that can control filtering parameters. Also mounted on the top panel are quarter-inch input and output jacks. Unfortunately, the pedal isn’t battery-powered.
Pros:
The Synth-1’s Chaos mode delivers unpredictable brilliance. The filter section has a wide sweeping range and can also be controlled by an expression pedal which is a welcome addition. Finally, you can toggle between three different waveforms just by flipping a switch.
Cons:
It’ll take time to adjust the controls on the pedal to make it sound useful in a live or studio setting. Not as straightforward as some of the more conventional pedals, the randomness of the Synth sounds the unit offers may or may not be your cup of tea. Also, being a sizeable unit, surely a battery compartment could’ve been built into it.
11. Harley Benton DNAfx GiT Pro
The home brand of Thomann Music is picking up its game with its line of pedals and effects processors.
The DNAfx range features the DNAfx Git, which is a dual footswitch processor with a built-in expression pedal, and the flagship model called the DNAfx Git Pro that, comes loaded with all the bells and whistles. Not only do these units sound great, but they look great too.
If you’ve been following Harley Benton for a while, you’ll know what they’re all about. Blessed with many features and built with premium material, these supposedly high-end products cost incredibly low compared to other processors with similar capabilities.
Key Features:
- Effects
The GiT Pro offers many presents broadly categorized into different heads. As you cycle through the presets, you’ll find effects like Compressor, Equalizers, Wah, Harmonizer, Overdrive/Distortion, Phaser, Flanger, Chorus, Tremolo, Delay, and a lot more. - Delay
The Delay section is very detailed and offers 9 different delay types for selection and modification. These include Reverse Delay, Ping Pong, Dual Delay, Digital Delay, Tape Echo, Analog Delay, Real Echo, Ducked Delay, and Mod Delay. The Reverse delay effect is especially exciting as it takes chunks of the original signal, reverses the sound, and mixes it back depending on the set ratio. - Interface
Starting from the right, the interface has a master volume knob labeled “Output” next to the large display. In standard mode, the screen is divided into sections showing the bank and preset name, the volume level, the effects chain, and the adjustable parameters shown as digital knobs. The five smaller physical knobs under the display can be used to adjust these. To the right of the display is a cluster of controls to navigate different menus. The multipurpose knob to the right of the screen can be rotated and pressed like a button for various applications. At the base of the processor is a strip of four footswitches used to cycle between different patches and effects, among other functions. Lastly, the processor also features an expression pedal that can control the volume or other modulations depending on the selected settings. - Back Panel
The back panel is quite detailed and hardly has any unused space. Starting from the far left, the processor has an aux input for connecting to a mobile device for jamming along. The “Amp CTRL” and “Pedal” inputs connect to a foot switch or external expression pedal, respectively. The “Input” port can be used to connect your guitar, while the processor also has a single “Send” jack and stereo “Return” ports. The stereo outputs are next and help connect to two guitar amps simultaneously. You’ll also find a couple of XLR outputs for the same purpose. - Midi Connectivity & USB
If you’re looking for a unit that allows Midi connectivity, the Git Pro also has a Midi In/Out port. You can record directly on your computer or update the unit’s firmware with the USB port. Finally, you’ll notice that the processor offers a 3.5mm jack for your headphones and a 9V power input with a power switch next to it.
Pros:
The effects quality and pristine sound you get from this pedal are ridiculously good. But don’t take my word for it. You can look at different video tutorials on YouTube or check the pedal out yourself. The expression pedal works well, and the overall build is exceptional. The input/output section is well-equipped for any scenario.
Cons:
Judging at the long list of effects, beautifully crafted display, and ease of use the controls provide, Harley Benton hasn’t taken a step wrong with this highly affordable effects processor. Taking the final decision, however, may come down to preference if you’re satisfied with your current setup and require a single effect pedal to satisfy your reverse delay needs.
12. Electro-Harmonix 1440 Stereo Looper
Here’s a powerful yet easy-to-use looper pedal from the Electro-Harmonix Range.
The pedal measures 4.75 inches by 4.13 inches by 2.25 inches and is made of solid metal. The internal circuit board is designed to store up to 24 minutes of looping. You can also access 20 slots for storing and recalling your loops.
Furthermore, the pedal also has a supporting computer app compatible with Mac and Windows and can be downloaded easily from the Electro-Harmonix website. Through this software, you can transfer loops to and from your computer with the utmost ease.
Key Features:
- Modes
The multifunctional knob on the far right controls the “Modes.” The knob can be rotated to cycle through the modes or pressed to select the mode. The options that you can choose here are “LOOP,” “SWFX,” “EXCT,” “FADE,” and “TM.KN.” - Modes: SWFX
Whatever choices are made in this mode will directly affect the “Stop FX” footswitch on the right. The options here include “STOP,” “OCT,” “REV,” “RV. OC,” and “TRIG.” When set to Stop, the footswitch will stop the current loop when pressed once. The other four settings are indicated by the four status lights below the display. The OCT mode allows you to alter the octaves of the loop by pressing the right footswitch. The following two settings are related to the reverse functionality of this looper pedal. The REV setting simply reverses the loop while the RV. OC enables the mode where the loop octave and order (reverse or forward) can be adjusted in one go. Finally, the TRIG setting is helpful if you want to have the loop restart from the beginning by pressing the footswitch. - Modes: LOOP, EXTC, FADE & TM.KN
When you cycle through the LOOP mode, you can go through the 20 available slots to pick the loop you want to recall. The EXTC mode determines how the pedal will react when MIDI clock messages are sent to it externally. Thirdly, the FADE mode helps set how a loop will be stopped. You can let the loop fade away over 99 seconds or stop it abruptly. Finally, the TM.KN applies to the behavior of the Tempo knob. Through this mode, you can choose whether the tempo knob will change the speed of the loop in steps of one beat per minute or half intervals notes. - Level, Tempo & Overdub Controls
The “Level” knob is responsible for controlling the volume of the recorded loop. This is handy as you can reduce the level to play a solo over the recorded sound or maybe turn the level up slightly while playing light arpeggiated fillers in the background. Next to the Level control is the “Tempo” knob, which changes the beats per minute of the recorded loop, as evident by the name. The time range available here is 60 – 240 BPM. Having the knob centered will capture the original playing speed, meaning you can decrease or increase the tempo by a maximum value of 2x when moving to either side. The “Overdub” knob is vital as it helps reduce clutter and keeps everything articulate and clear. With this knob, you can control the volume of the previous overdubs. Every time a new layer is added, the pedal will refer to the current setting of the Overdub knob to ascertain the volume of the previous layer. - Connectivity
This looper is loaded with input/output options. Starting from the right, you’ll see a couple of quarter-inch stereo inputs on offer. To the left are corresponding stereo outputs. You’ll also find a footswitch input here. An external footswitch can be used to move through the loop banks or for instantly undoing or redoing the current phrase. The top panel hosts a 9V power input, a Midi input for an external Midi device, and a USB port for connecting to a computer. - Footswitches
Gifted with dual footswitches, a lot of looping functionality is initiated in this section. Firstly, the switch to the left can record, playback, and overdub loops depending on when it is pressed during the looping cycle. You can also undo/redo and stop the loop completely through the left footswitch. The footswitch on the right handles the different modes like octaves, reverse, reverse octaves, and retriggering loops.
Pros:
As far as looper pedals go, the Electro-Harmonix covers the standard features and delivers some exciting options like changing loop octaves, reversing loops, or even combining both. The Mode control allows you to assign different responsibilities to the footswitch so you can change the desired parameters instantly.
Cons:
The knobs aren’t adequately spaced, so you may inadvertently disturb the nearby controls when making quick adjustments. Furthermore, the pedal is a bit bulky, so you’ll need to make room for it on your board. However, all in all, this is a fun looper pedal and worth trying for sure.
Bonus:
Walrus Audio MAKO Series: D1 High-Fidelity Delay
The Walrus Audio Mako Series offers a wide array of feature-rich pedals that showcase the company’s technical prowess.
If you’re looking for High-Fidelity modulation, delay, and reverb effects, you might want to explore the MAKO range of pedals, as these units offer a rock-solid build, a plethora of controls, and truckloads of very usable programs that will surely come in handy.
The D1 High-Fidelity Delay is another example of this approach from Walrus Audio. The user interface may seem daunting at first, but once you get a chance to get well acquainted with the controls, you’ll end your search for a versatile Delay effects unit.
Key Features:
- Time & Repeat
The “Time” control helps adjust the delay time between 60 milliseconds and 2000 milliseconds. Although the pedal also has tap tempo capabilities, the value set through this knob is given precedence. Like on most delay units, the “Repeat” knob is a feedback control that adjusts the number of delay repetitions. You can dial infinite self-oscillations by moving the control to the right or reduce the number of repeats by turning the knob down. - Mix & Attack
The “Mix” knob will let you decide how much of the delay signal will be heard. Turning the control to the far left will eliminate the wet signal. However, the delay effect will get enhanced as you move in a clockwise direction. The “Attack” knob controls the reaction of the delay engine when a note is played. You can adjust the knob to determine how quickly the delay effect reacts to the original signal being fed through. - Tweak Section
This section combines a switch and knob to control the “Tweak” parameters. With the help of the switch, you can select the “Mod,” “Tone,” or “Age” setting and then use the Tweak knob to control different aspects of the chosen setting. The Modulation setting reacts differently depending on the selected program, as does the Tone, which offers equalizer settings in general. The Age setting focuses on recreating diminishing sound fidelity experienced on vintage tape delay units that face wear and tear as they age. - Banks A | B | C & Divisions Switch
The pedal offers three banks for storing presets. It bank has three slots within, which means that, in essence, six different settings can be stored for quick recall. The corresponding LED will light up depending on which bank you’re accessing. You’ll see Red, Green, and Blue for A, B, and C, respectively. Next to the Banks section is the divisions switch. When using an external Midi device for MIDI clock commands, you can set this switch to a quarter note, eighth, or dotted eighth note. - Programs
The central “Prog” or program knob is how the D1 High-Fidelity Delay earns its stripes. There are five programs you can access here, which include “Dig” (digital), “Mod” (modulation), “Vint” (vintage), “Dual,” and “Rev” (reverse). - Programs Explained: Reverse
The Reverse setting is short for reverse delay. Activating this mode will deliver exciting reversed delay sounds based on the notes fed through the system. The Tweak section is what you need to refer to for adding exciting characteristics. For instance, the Mod setting modulates the pitch of the delay, while Tone throws in some low-pass filtering to the mix. The Age setting will add warmth to the reverse delay effect. - Programs Explained: Digital & Mod
If you’re looking for pristine studio-grade sound, the Digital delay setting will get you there fast. Use the Mod setting to add pitch variations, Tone for low pass filtering, and Age for some intense bit crushing. The Mod setting helps apply low-frequency oscillation to the delay repetitions. You can further tweak this by adding pitch modulations, low pass filtering, and warmth to the wet signal. - Programs Explained: Vintage & Dual
The Vintage setting is all about delivering analog delay tones reminiscent of classic tape delay machines. This setting has a certain degree of unpredictability as you can add asymmetrical pitch variations and blend high-pass and low-pass filtering to the repetitions. Furthermore, cutting the high frequencies and boosting the warmth can be achieved through the tweak section. Finally, the Dual program is fascinating as it lets the user merge two different delay settings and output them either as mono or stereo to output each delay type to a different amp. - Connections
With the inputs and outputs around the unit, you won’t find yourself in a situation you’re unprepared for. Quarter-inch stereo inputs and outputs flank the pedal. The left side panel also has a 9V power input and a USB port for computer connectivity. Finally, the pedal is MIDI enabled and has a top-mounted input and output.
Pros:
Perhaps the most complete delay unit in the market, the D1 High-Fidelity Delay covers a lot of ground. This unit is incredibly gifted with five amazing delay programs and five adjustable parameters that vary according to the selected program. Further, being Midi controlled adds a whole new dimension to its functionality.
Cons:
The D1 High-Fidelity Delay by Walrus Audio does so much that you have to pick your brain to think of the negatives. Maybe a quarter-inch expression pedal input would be a good addition. Also, if the pedal were battery-powered, that would be another great feature at your disposal if needed.
Conclusion
We’ve put together a mixed bag for you today with pedals that can relate to each other and some units that work in entirely different directions and look to solve unrelated problems.
The Boss RC-500 and the 1440 Stereo Looper from Electro-Harmonix are pure looping units that come in handy during practice sessions and can be worthy companions when writing songs. Both have reverse looping modes too.
The EarthQuaker Devices Avalanche Run V2 and Walrus Audio Lore Reverse Soundscape Generator are exceptional pedals that combine various reverb and delay types. However, if you’re looking for pure delay pedals that deliver reverse tape delay sounds, you must explore the Walrus Audio Mako Series D1 High-Fidelity pedal and, of course, the modern reissue of Back Talk Reverse Delay Pedal from Danelectro.
Another great unit from Walrus Audio, the Descent Reverb/Octave Machine, gives you two pedals in one so you can reverse your reverbs and manipulate octaves to your heat’s content.
Are you one of those musicians who like to venture into the unpredictability of pitch shifts, synth sounds, and everything in between? The Red Panda Tensor, Keeley Synth-1, and Electro-Harmonix Attack Decay can all be great options.
Finally, suppose you’re looking for comprehensive effect processors that have reverse looping capabilities and offer reversed delay/reverb types among an abundance of other effects. In that case, you can’t go wrong with the Harley Benton DNAfx Git Pro or the Mooer GE 300.
Sultan Zafar is a guitar player from Islamabad, Pakistan. He has been playing music with various mainstream musicians for over 20 years. He is a song writer and music producer. These days he spends his time exploring different music genres and collaborating with fellow musicians on various projects. Read more..