Enjoy Electronics combine past and present in this intriguing quadraphonic digital delay.
There is something delightful about playing with the fabric of time, and the use of delays in almost every genre of music makes them a safe business proposition. But, to stand out from the crowd, a good delay needs a personality and a unique selling point or two. You can tell from a first glance that Enjoy Electronics’ Reminder approaches things differently: it’s a desktop design that’s wide enough to be a synthesizer, and it looks like one too. The Moog‑like black livery, chunky knobs, and spacious front panel already suggest high levels of tweakability, but read the marketing hype and things start to get interesting. Anything that offers a “revolutionary” take on the classic Space Echo certainly has my attention, and I don’t know about you but I can’t remember the last time I saw something marketed as ‘quadraphonic’.
It’s worth a quick summary of what Reminder is and isn’t. It is entirely digital and it only does tempo‑sync’ed delays; there’s no setting of the delay time ‘by ear’. It revolves around two sets of stereo delays, and there is reverb, filtering, and an LFO for modulation.
The aesthetics are beautiful. The all‑metal enclosure is wrapped in a stylish oak‑coloured frame with orange LED strips embedded on each side. The larger knobs (filter frequency, 2x delay time, and reverb amount) have a similar orange LED skirt which lights up to show signal level or amount. There’s also a small OLED screen used to configure various settings.
Audio comes into the Reminder through two unbalanced TS input jacks on the rear. Operation is entirely stereo (one set of controls operates on both channels) but any combination of mono or stereo input and stereo or quadraphonic output (more on that later) is catered for. The signal then goes to the main delay. Power comes through a 5V USB B connector, which also provides USB MIDI. There’s no standard power connector, which is a shame; I’m not a huge fan of USB for power as it is far more susceptible to ground loops.
The Power Delay consists of two delay lines, one for the left channel and one for the right. The delays are, as I mentioned, always sync’ed to the tempo, and this can be set internally or via MIDI Clock (DIN or USB). Tap tempo is also available using a front‑panel button or footswitch. Delay time divisions are set using the two large knobs in the centre and cover a range of straight and triplet divisions from 1/2 to 1/16T. Dotted delays are enabled per channel with a button that lengthens all delay divisions by 50%. The delay times can also be offset relative to each other and the clock. The Offset control offers eight settings that increasingly offset the left and right channels. Assuming that both channels are set to the same base division, the middle setting (4/8) will behave like a ping‑pong delay. A second stereo delay buffer, called the Double Pulse Delay, divides the main delay division into eighths and allows you to set a different division for left and right channels.
The Power Delay and the Double Pulse Delay (I’ll refer to this as DPD from here on) share a feedback control. The Reminder’s digital core is evident when pushing the feedback to 100%. Instead of collapsing into a howl of feedback, as would happen on an analogue delay, you get perfect endless repetition. Another clue is that the delay doesn’t change pitch when adjusting delay time. Instead, it simply snaps to the new delay time without any fuss.
Both delays also have an independent filter. The filters are either high‑ or low‑pass (but not both), and although the...