This is perhaps one of the most peculiar magnetic delays ever mass-produced; instead of relying on a traditional tape transport, the heads are resting on a spinning magnetic disc, somewhat similar to an old-style computer floppy. It is, to my knowledge, the only device of its kind.
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It’s not often that you see a tape delay with a radically different tape transport like the one used by the EM-88. Not only is this one different from most other tension tape loops around (for one thing, the tape length is much longer than any other I’ve seen), but it’s also quite a departure from all the other Guyatone tape delays I’ve seen, which either use an 8-track tape (like the Guyatone EM-808D) or a Sony RE cartridge (like the EM-77), the exception being the EM-78, which seems to be a direct ancestor of the EM-88.
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For an 8-track based unit, the EM-808D has it all: multiple inputs, tone controls, back-lit VU meter, plus the ability to output a 100% wet signal. You can’t really ask for anything more from this kind of technology… Its limitations are the same as every other 8-track delay: one head only, short delay time and low fidelity at slow tape speeds. Regardless, 8-track delays have a charm of their own: low wow & flutter, plus a very peculiar way of distorting signal that makes them extremely useful for certain applications. The EM-808D does a great job at all of this. This unit, along with the Kastam SS-102 (they are basically the same units), are my two favorite 8-track delays.
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Guyatone seems to have tried many different types of transport over the years: tension loop, 8-track cassette, and this one, which uses the Sony RE cartridges. The EM 77 is a limited unit, mostly because it only has two playback heads (the Roland RE-100/200 has three, and so do the Elk delays) and no tone control.
On the plus side, it has a front panel that makes it look like a home-made prototype, and a really funky signal level meter, which is basically a little moving panel with a painted design on it. The pinch roller can disengage from the capstan, the speed is variable, and there’s a wet only switch, which has the funky name of “Fund Switch”!
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This delay machine is a somewhat inferior version of the Roland RE-100: they both share the same cartridge transport (see this page for more info on the RE-series endless cartridges), and both have a switch to disengage the pinch roller; unfortunately, while the RE-100 boasts a number of additional features, the ELK is a very basic design with limited capabilities: the motor speed isn’t variable, there are no tone controls, no wet output and no VU meter…
It does have one original feature: a footswitch control that allows to shut off the delay input while keeping the regeneration on. That way the delay signal stays on, but isn’t “fed” anymore from the playback heads. The delay can be stopped smoothly, since what’s left of the delayed signal trails off instead of cutting off suddenly. This is actually very useful, it’s a mystery why it wasn’t implemented in more tape delays…
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This echo machine is fairly common here in Japan. It shows up on auction sites regularly, and judging by the amount I see on the market, I suspect many of them were manufactured. The EM-4 is clearly an improvement over the other Elk tape delay I own, the Echo Machine; it features a variable speed motor (the Echo Machine does also, but has a 5-position speed knob instead of a continuous speed control), decent tone controls, a standby switch to disengage the pinch roller, and it’s also much smaller than the Echo Machine. In fact, it’s probably the smallest tape delay I’ve seen using the Sony RE cartridge tape transport, apart maybe from another Elk delay, the Elk EM-5, which is slightly smaller but lacks many features of the EM-4.
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This unit has a great selection of inputs and outputs, including a “wet only” output through the “vocal amp” jack. The mode selector resembles the one on Roland Space Echos, and with 11 positions almost completely covers the range of head selections possible.
The EC-10 looks great with its red, black and gold design and cool, uncommon knobs. Plus the VU meter an logo light up when the unit is on, so it’s a great looker.
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This is a fairly primitive unit, with only one playback head and a fixed speed motor, but it does have a sliding record head allowing for some delay time adjustments. The ES-1, part of the same line of equipement, was a more professional unit (see the ES-5 which has the same features).
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One of the smallest “free running tape” units around. It has a great selection of inputs and outputs, and the motor speed is variable (although the adjustment knob is located under the plexiglass, not on the front panel). The write head is a “sliding” type, which is probably why the motor speed knob is not on the front: you can adjust delay time by sliding the head.
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This is perhaps the best rival to the Space Echo series. It features everything that can be found in the RE-201, but also “sound on sound” and more flexible routing of the delayed signal. The fidelity of my unit is comparable to a 201, perhaps a bit brighter sounding.
The tape transport on my unit is extremely stable, as a result the delay has very limited wow and flutter. I didn’t have to change the drive belt, it was still in good shape. The reverb uses two springs that span almost the whole width of the unit. The tone knob is really strong: at max treble, bass frequencies are completely cut out. You can shape the delay tone very aggressively if you want to.
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