T-Rex Replica User Manual
USER MANUAL
REPLICA
HELLO (HELLO, HELLO…)
and congratulations on your purchase of Replica, the world’s best guitar
delay pedal from T-Rex Engineering.
Replica packs more incredible-sounding echo and delay effects into a
single box than any other pedal out there. From the warm analogue
echo of early Floyd to the precision-engineered delays of the digital
studio, this box does it all. And then some.
Read this manual carefully to thoroughly acquaint yourself with your
new Replica. The better you know it, the more it will give you in return.
TAKE CONTROL OF YOUR DELAY
The main controls on your Replica pedal are the ECHO, REPEAT, TEMPO
and LEVEL knobs, while the BROWN and SUBDIVISION switches provide
further tone and tempo options and an INPUT LEVEL knob on the side of
the unit lets you control your input signal. An ingenious TAP button lets
you set tempo on the fly, without missing a beat.
ECHO determines the mix of direct signal and delay. Turn it down for
a subtler natural effect, and crank it up for doubling or freaky long
delay effects.
The REPEAT knob lets you control the number of times a sound is repeated – from just once to a virtual infinity.
TEMPO determines the speed of your echo. TIP: to experiment, try
tuning in a classic 50s slap-back sound by combining a fast tempo
with a low repeat value.
LEVEL lets you adjust the overall output of your Replica.
The TAP button in the bottom-right corner of your Replica lets you set
the tempo of your delay while you play. Just tap along to the beat, and
you’re up and running.
Use the BROWN switch to take the digital edge off your delay and recreate the great tape-echo effects of the Golden Age of rock ‘n’ roll.
The SUBDIVISION switch lets you split your delay into 1/4-note triplets
that follow the tempo you set manually or tap in.
The INPUT LEVEL knob on the side of your Replica lets you turn down
the input signal to eliminate overload distortion when your pedal is at
the end of an effects chain or used as part of an effects loop from your
amp.
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