JAM Pedals Delay Llama Analogue Delay Mk 3

£259.00

This is a New JAM Pedals Delay Llama Analogue Delay Mk 3 from JAM Pedals, listed in Delay Pedals on Just Pedals. Read More below.

View Just
more
and , ,

Jam Pedal’s analogue Delay Llama could be the closest thing to the perfect single pedal delay. It’s, durable, looks great and of course, produces a truly organic delay, using Bucket Brigade chips to bring warm, dark repeats for a roomy slapback, to a longer delay that will sit softly under the mix.

The clean three-control layout makes it easy to dial in a warm, natural analogue echo effect. And with 600ms of max delay, there’s plenty of wiggle room to experiment with different creative formulas.

Even better yet is the soft click switching, a great feature if you’re playing intimate shows. Simple, but oh so highly effective.

New Features to MK3

  • Tap tempo / HOLD function
  • 3-way-toggle switch for Tap Tempo subdivisions (eighth note, dotted eighth note, quarter note)
  • Trails (buffered) or true bypass option

Here’s what Jam Pedals say about the Delay Llama:

The Delay Llama is a tone machine that will become an indispensable part of your sound adding warmth and depth through organic repeats which seamlessly integrate into your playing, courtesy of its BBD chips, faithful reproductions of the Panasonic MN3205.

Its straight forward traditional 3-knob layout is addressed to delay users who are looking to elegantly enhance their hard-earned tone, similarly to how a tape-echo machine would.

  • The Delay Llama can also be used with bass guitars.
  • Maximum delay time: 600 ms
  • The Delay Llama features soft-click (relay) switching.

ARTISTS USING THE DELAY LLAMA

Bill Frisell, Marc Ribot, John Abercrombie, Nels Cline, Kurt Rosenwinkel, Daniel Lanois, David Hidalgo, Cesar Rosas, Jim Campilongo, Dweezil Zappa, Alex Skolnick, Jonny Lang, Greg Koch, Kenny Wayne Shepherd, Steve Lukather, Adrian Legg, Guy Pratt, Christian Fennesz, Bernie Marsden, James Sedwards, Kirk Fletcher

ARTISTS QUOTES

“…it’s the quality of the sound that will beat any digital delay!” – Vintage Guitar magazine

“I used the Delay Llama on this last tour, and not only to produce vintage sounding slap backs ! Also: light and durable: important for me!” – Marc Ribot

“I quickly dialed up a Rockabilly slap back that sounded very organic – very similar like my old tape Echoplex (without the squeaking analog tape!). Usually getting a slap back echo is tricky, especially on my Line 6, but because of the 3 knob design, I quickly got the setting. And it’s the best I’ve ever heard. I proceeded to getting some deep space sounds easily too. My girlfriend can borrow my Line 6, I’m converting to Delay Llama!” – Jim Campilongo

“Around 1980 many of us got into bucket brigade delays, little analog echo boxes. They were a lot less trouble than tape and disc echos. I loved them and the sound imprinted in my mind. Then digital arrived, and as we played with the magical bells and whistles, we slowly noticed that it didn’t always feel right. In 2010 I plugged into the bucket brigade Delay Llama and thirty years fell away. I’m home. It feels good!” – Adrian Legg

“It’s so musical and warm!” – Kirk Fletcher

Specifications

  • Power: 9V DC Centre, Negative
  • Circuit: BBD Analogue
  • Bypass: Switchable (buffered trails / true bypass)
  • Tap Temp: Yes

Related videos

Brand

Jam Pedals

In the current JustPedals catalogue, Jam Pedals is represented by Overdrive Pedals, Fuzz Pedals and Tremolo & Vibrato Pedals. Current listings include Eureka Fuzz, Ripple Phaser and Chill Tremolo. That makes the range relevant to players looking for drive, gain and clipping, plus time-based effects and ambience. Check each model for its exact circuit or processing platform, controls, power requirements and connections, particularly where the catalogue includes both pedals and supporting gear.

Category

Delay Pedals

Delay pedals repeat the input after a set time, from a short slapback to long ambient trails. Feedback controls how many repeats continue; filtering, modulation, saturation and mix shape their tone and prominence. Tap tempo can keep rhythmic delays aligned with a song, while presets and MIDI help when several timings are needed. Analogue, tape-style and digital designs respond differently to transients and overload. Check maximum delay time, spillover, stereo routing, trails and headroom before choosing a model for the rest of the board.

Tags

Analogue

Analogue products use continuous audio circuitry for some or all of the signal path, so clipping, filtering or modulation arises from physical components rather than sampled algorithms. The label does not guarantee a particular tone; component choice, headroom, bias, noise and the surrounding gain stages still matter. Check whether the switching, presets, control section or cabinet stage is digital when the exact signal path is important.

Tap Tempo

Tap tempo lets a player set delay, modulation, tremolo or looper timing by tapping a footswitch. The implementation may be a dedicated switch, an external input, MIDI clock or a combination, and the supported timing divisions vary. Check whether the tempo is stored, whether tap is momentary or latching, how quickly the effect follows changes and which blocks respond. Tap tempo is useful only when the control connection and timing range match the workflow.

True Bypass

True bypass removes the effect circuit from the audio path when bypassed, usually by mechanical, relay or switching circuitry. This can preserve the direct signal but does not automatically solve long-cable loading, and it may create a pop or leave no buffer for the rest of the board. Check the actual switching method, trails or spillover, input and output loading and the number of other true-bypass pedals in the chain.