It's more about the reverb being after the preamp than the delay; I use a Strymon Flint set to a long decay sometimes, and it can get garbled in the front end, even if my drive is coming from pedals. It sounds great in a loop though. I understand your reasoning on creating a parallel loop so that a purer signal path to the phase inverter is preserved. That's what my Mesa Blue Angel has, and I like the way it works. If it will help preserve the best tone possible, I'm for it. I'd rather not use a line out, because I'd like to have the option to run mono and still use a loop. Thanks for the input.matt h wrote:Yes, they are named that for a good reason-- because they're named after a motorcycle.sonofdavid wrote: I'm open to suggestions, but I don't see how it could be too detrimental to the overall tone if they were in the original Matchless amps; they are called Matchless for a very good reason.
The totally passive effects loop is still crap. If you're looking for adding reverb and delay, you could tap off a signal and run a parallel loop into the lower PI input. Otherwise, you disrupt the preamp hitting the PI, which for a preamp class that only has one (input) gain stage... well, just pointless.
If it were me, I'd put in a "one tube" style reverb running into the lower input, and then just throw a delay in front of the amp.
If I really, really cared about the delay not being in front of the amp, for something like this--I'd be using a line-out and running into a clean amp for the wet-rig.
As for filter caps, what do you guys think about F&T? From what I've read they seem to be pretty high quality, but without breaking the bank. I don't want to wait long enough to save up for Atoms, but I will if they're that much better.