The Twin Peaks Eiger-Mönch by RhPf Electronics is a dual delay pedal with a clever twist.
You can either run both delay lines in parallel (toggle to the left) or activate the cascade mode (toggle to the right) and have them feedbacking into each other.
Although this is a mono pedal, I can’t shake off the stereo feeling I get from it. There is something haunting in the way both delay circuits are voiced. One line leans warm and soft with longer repeats, the other stays crystal clear with shorter, tighter repeats, and RhPf builds both around an analog-like character rather than a pristine digital one.
The panel lays out as two mirrored delay lines. On the left you get Echo (delay one) up top and Rate (delay one) below it; on the right, Echo (delay two) and Rate (delay two) in the same arrangement. A small Level knob sits centered beneath both pairs, setting how loud the combined delay signal sits in the mix. Below that, the footswitch handles bypass with a blue status LED, and the toggle next to it is the mode switch: flip it left for parallel, where the two delay lines run independently and mix at the output, or right for cascade, where delay line two feeds back into delay line one for evolving, accelerating repeats.
In the demo above I’ve set up sweeps for delay one’s Echo and Rate knobs, plus delay two’s Echo knob in cascade mode, so you can hear each line’s contribution before they’re combined. There’s also a sweep flicking the mode toggle between cascading and parallel so you can hear the two circuits feeding into each other versus running side by side.
Delay Cascade and Sympathetic Feedback both run in cascade mode with both Echo knobs maxed, and the difference between them is all in the Rate knobs: Sympathetic Feedback keeps both rates low and even, so the repeats build into a dense, humming wash, while Delay Cascade staggers the two rates further apart for a more unstable, evolving trail. Double Slapback flips to parallel mode with both Echo knobs backed off to 7 and the rates spread wide, giving a tight slap on one line and a slightly delayed second slap on the other rather than a long trail. Across all of it, the repeats never sound sterile. There’s a soft, aging quality to the decay that feels more like an old bucket-brigade unit than a clean digital delay, even though the two voices, one brighter, one darker, stay clearly distinct from each other.
The MXR Joshua Ambient Echo is the other dual-delay-line pedal on this site, and the contrast is useful. Joshua is a feature-forward digital delay: tap tempo, five tempo subdivisions, an octave-blending Voice control, and a dedicated stereo output for its second delay line. The Twin Peaks Eiger-Mönch strips that back to two knobs per line (Echo and Rate) and a single mode toggle, with no tap tempo or subdivisions to dial in. What it trades features for is character: the two circuits are voiced differently by design, warm versus bright, rather than shaped by digital modulation and octave blending, and the cascade mode lets one line feed the other in a way Joshua’s parallel stereo spread doesn’t attempt. If you want precise, tempo-locked digital delay with a lot of onboard shaping, Joshua is the deeper tool. If you want a simpler, more haunting analog-voiced pair that spirals into itself, this is it.
This isn’t a pedal for dialing in precise dotted-eighth delays for a U2 cover band. It’s built for ambient players, shoegaze and post-rock textures, and anyone layering soundscapes who wants two distinct delay voices interacting rather than one clean repeat. Players who need tap tempo, MIDI sync, or exact rhythmic subdivisions should look elsewhere: RhPf built this for feel and texture, not precision. For everyone chasing lush, self-generating delay trails, the parallel and cascade modes give you two very different tools in one small enclosure.
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Get detailed specs on RhPf Electronics' website
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