pricklyrobot
Well-known member
Anything near a water source (kitchen, bathroom) or even just a potentially damp location (side of the house outside, inside a garage) is required to be GFCI-protected. So it’s not especially dangerous.
New Pedal Releases
- Thread starter Robert
- Start date
Aentons
Well-known member
Plus it's only half the voltage.
JohnnyCreepy
Well-known member
This thing runs on kilovolts, biases too hot into redplating and takes water in like champ while turning it to warm vapour.
I haven’t died on throwing water into burning red resistors and you’re afraid of sockets in bathroom, camooon!
Ps. I have wall AC sockets in 2 meters from the shower heads.
(IP44)
jimilee
Well-known member
Not a lot of common sense over there or what’s going on? Meh, it’s only 110v over here. You’ll get a little warming before you get slammed.
Feral Feline
Well-known member
Was nice to see @LaceSensor getting some more digink from Premier Guitar;
PG's reviewing his Gigahearts Mashed Voltaire Deluxe:
Congrats!
PG's reviewing his Gigahearts Mashed Voltaire Deluxe:
Congrats!
In Australia I can buy that same switch but down is ON!
I had to google GFCI - I don't think we use them over here! RCD in the consumer unit.
Fama
Well-known member
Finland 2-3 electricity related fatalities per year, 5M pop. So probably not directly related to sockets in bathrooms, since those are fine here (at least 60cm from a bath/shower - I think UK be 300cm from a bath/shower which is why they don't really exist in practice?).
ah ha! so we should all be more Finnish.
JohnnyCreepy
Well-known member
I could imagine these are from failing equipment, misusing tools or self taught amateurs (like us) doing stupid things. I’ve witnessed my grandpa duct taping broken insulation on cord as a permanent fix…
Definitely. Skilled at plumbing my grandfather was, electricity he was not. For example, he hardwired the dryer directly to the circuit breaker.
bluedmc777
Well-known member
Now this I could get on board with. If I could afford it.
tegendemuur
Well-known member
Always happy to see something expensive that I don't really need. 
"Big Time is not a practical pedal to make in 2026, but I think that’s what makes it good, and worth it.
This style of digital/analog hybrid delay is extremely rare, and there’s a good reason for that:
So we asked ourselves:
What would happen if we revisited that kind of circuit design but did it on purpose? What can you get by leaning all the way in and pushing that kind of hybrid circuitry to its extremes?"
Big Time is a digital delay with two distinct stages of analog coloration, all in true stereo. It includes an analog preamp at the very front of the circuit, and a limiter in the feedback path of the delay.
It’s a portable slice of that mythical era of early 80s rack echoes, but Big Time is not a nostalgic pedal. The point is not to recreate a certain vintage vibe (though you can), but to really dive into the unique abilities made possible by this hybrid analog/digital approach.
Imagine taking a long, stable echo, then running it through a misbiased limiter that slowly eats it. With each repeat the echoes change a little (or a lot), taking on a more analog character. You can make a saturated wall of sound that replicates early reverb technology, or build a melting double-tracking chorus, or create Thermae-style echo sequences. It’s like a free-flowing multi-effect that lets you transition from place to place seamlessly, bending time however you please without interruption.
The digital side lets you do whatever you want, and the analog side makes it all sound good and very, very big. All of this is also true stereo, meaning each channel actually has its own dedicated analog preamp and limiter.
It’s a lot of stuff.
It’s a bit hard to explain, but easy to get lost in.
"Big Time is not a practical pedal to make in 2026, but I think that’s what makes it good, and worth it.
This style of digital/analog hybrid delay is extremely rare, and there’s a good reason for that:
- It’s not necessary
- It’s really hard
So we asked ourselves:
What would happen if we revisited that kind of circuit design but did it on purpose? What can you get by leaning all the way in and pushing that kind of hybrid circuitry to its extremes?"
Big Time is a digital delay with two distinct stages of analog coloration, all in true stereo. It includes an analog preamp at the very front of the circuit, and a limiter in the feedback path of the delay.
It’s a portable slice of that mythical era of early 80s rack echoes, but Big Time is not a nostalgic pedal. The point is not to recreate a certain vintage vibe (though you can), but to really dive into the unique abilities made possible by this hybrid analog/digital approach.
Imagine taking a long, stable echo, then running it through a misbiased limiter that slowly eats it. With each repeat the echoes change a little (or a lot), taking on a more analog character. You can make a saturated wall of sound that replicates early reverb technology, or build a melting double-tracking chorus, or create Thermae-style echo sequences. It’s like a free-flowing multi-effect that lets you transition from place to place seamlessly, bending time however you please without interruption.
The digital side lets you do whatever you want, and the analog side makes it all sound good and very, very big. All of this is also true stereo, meaning each channel actually has its own dedicated analog preamp and limiter.
It’s a lot of stuff.
It’s a bit hard to explain, but easy to get lost in.
Last edited:
Fama
Well-known member
It's definitely not for me either (I think the Chase Bliss pedals are mostly meant for people who play ambient stuff and I don't care about that at all), but that's just useless levels of exaggeration. Yes, it's just an analog voiced digital delay, but similarly a $100 Harley Benton is just as much a guitar as $5000 custom shop guitar.
It's got a ton of pretty nice looking features going on, and it can get pretty unique sounds IMO. I'd rather take this than a stereo analog delay tbh.
If you actually wanted to criticize it for something and not just come off bitter you can't afford it, the user interface looks like a nightmare. I think a lot of Chase Bliss pedals would benefit from having a bigger enclosure and more controls instead of all these alternate functions, but I guess if the potential buyer base is fine with tweaking stuff at home and just using MIDI to select presets later on, it probably works fine.
Nostradoomus
Well-known member
Always happy to see something expensive that I don't really need.
"Big Time is not a practical pedal to make in 2026, but I think that’s what makes it good, and worth it.
This style of digital/analog hybrid delay is extremely rare, and there’s a good reason for that:
When the rackmount delays that inspired Big Time were being made in the early 80s, there was no other choice. The digital technology of the time was very basic, so analog parts were used to make up for those shortcomings. The mixture of analog and digital circuitry was strictly functional. But once those units got out into the wild, musicians discovered that something magical would happen when you overworked them and pushed them too far.
- It’s not necessary
- It’s really hard
So we asked ourselves:
What would happen if we revisited that kind of circuit design but did it on purpose? What can you get by leaning all the way in and pushing that kind of hybrid circuitry to its extremes?"
View attachment 116317
Big Time is a digital delay with two distinct stages of analog coloration, all in true stereo. It includes an analog preamp at the very front of the circuit, and a limiter in the feedback path of the delay.
It’s a portable slice of that mythical era of early 80s rack echoes, but Big Time is not a nostalgic pedal. The point is not to recreate a certain vintage vibe (though you can), but to really dive into the unique abilities made possible by this hybrid analog/digital approach.
Imagine taking a long, stable echo, then running it through a misbiased limiter that slowly eats it. With each repeat the echoes change a little (or a lot), taking on a more analog character. You can make a saturated wall of sound that replicates early reverb technology, or build a melting double-tracking chorus, or create Thermae-style echo sequences. It’s like a free-flowing multi-effect that lets you transition from place to place seamlessly, bending time however you please without interruption.
The digital side lets you do whatever you want, and the analog side makes it all sound good and very, very big. All of this is also true stereo, meaning each channel actually has its own dedicated analog preamp and limiter.
It’s a lot of stuff.
It’s a bit hard to explain, but easy to get lost in.
I was just gonna say…Peter Gabriel waiting for that EAE/CB collab:
