The T-120 Videotape Echo Deluxe by Demedash Effects has been on my wishlist for quite a while. I always loved analog bucket brigade delays, especially when the repeats get noticeably darker and when there’s some modulation happening, and this one leans all the way into that idea.
I have never heard how an old videotape would alter the sound of my guitar. But after playing the T-120, I’m pretty sure it would feel like this: warm, wobbly repeats that degrade the further back they sit in the tail.
The panel runs eight knobs across three rows. Up top: Time sets the delay length, Mix blends dry and wet signal, and Intensity controls feedback, so you decide how many repeats trail off before they die out. The middle row is where the character lives: Depth and Speed drive the modulation LFO, and Tape Quality dials in how degraded and lo-fi the repeats sound, from clean bucket-brigade delay to warbly, worn-out tape hiss. The mod LED next to the footswitch blinks in time with the modulation rate, so you get a visual read on how fast Speed is cycling.
Two more knobs sit off to the side: Glide, which smooths out the transitions in the LFO instead of snapping between values, and Randomize, which pulls the modulation away from a steady periodic wobble toward something looser and more unpredictable. In the demo above I’ve set up sweeps for Depth, Speed, Tape Quality, Glide and Randomize, so you can hear each one in isolation before combining them. A single footswitch handles bypass.
Well, the T-120 certainly has some noticeable modulation and sound alteration going on in the repeats. Subtle Warble keeps things fairly restrained: light depth, quick-ish speed, and Randomize pushed up so the wobble never falls into an obvious pattern. Vintage Delay backs off the intensity and randomize while pushing Glide up high, giving a smoother, more analog-tape feel to the pitch drift. Worn Out Tape drops Tape Quality all the way down and pushes Randomize toward its max, which is where the pedal really earns its name: crackly, degraded repeats that sound like they’ve been through a few too many playback heads.
My favorite setting is when the modulation gets glitchy and random and lo-fi but still subtle enough to be musical. It’s a very versatile delay that can go from cleanish analog delay to all-out wacky modulated whirlwind delay, and the Glide and Randomize combination is what makes that range possible.
The BOSS DM-2w is the other obvious analog bucket-brigade delay to consider, and it’s a much simpler pedal by design: three knobs, a vintage/custom mode switch, and repeats that stay clean and predictable at any setting. The T-120 DLX v2 trades that simplicity for a deep modulation section built specifically to mess with the repeats, darkening and warping them the way old videotape would. If you want a no-fuss analog delay that just works, the DM-2w is the safer choice. If you want a delay that can wander into glitchy, unpredictable territory on purpose, the T-120 is built for exactly that.
This is a pedal for players who want their delay repeats to do more than just repeat: shoegaze, ambient, lo-fi indie and anyone chasing that degraded, tape-warped texture. The modulation controls make it just as useful as a subtle chorus-like thickener on the repeats as it is a full-on warble machine. If you want a strictly clean, predictable analog delay without any modulation to manage, look elsewhere. For anyone who wants the sound of an old videotape bleeding into their guitar tone, the T-120 DLX v2 delivers it convincingly.
I used the compressor and overdrive to keep the guitar as clean as possible – as not alter the sound of the delay repeats – while making the guitar stand out in the mix without being harsh.
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