It may be that I have the materials to build the model/colorway you’re after but simply haven’t gotten around to it yet, or it may be that the colorway or model you’re after is simply not available at the moment for any number of other reasons. If I’ve got the materials I’d be more than happy to build you one and do a direct sale to you via PayPal, so feel free to get in touch! Alternately, you can check in with my dealers to they have what you want.

There are basically two reasons why an alternate may cost more than the normal edition of a pedal.

1) The standard model uses plastic knobs, but the alternate version uses metal ones

I often use anodized aluminum knobs on alternate colorways. They look incredible, but they are also significantly more expensive than the regular knobs I use on the Spidola or T-120.

As such, typically an alternate print of a pedal will be $10 or $15 more if the regular one uses plastic knobs and the alternate uses aluminum, just to cover the difference in material costs.

The ones I really like are here if you’d like to pick some up for yourself!

2.) The alternate version is hand-stamped

Hand-stamped finishes are incredibly time consuming and labor intensive to make, especially when there are a lot of labels that need to be stamped in.

Each pedal like this is entirely finished by hand. It is manually drilled on a drill press, and then one by one, letter stamps are picked up, lined up, and hammered to create impressions in the aluminum. There are several font sets used, and when doing stamped finishes on colored enclosures, the powder coat will chip around a few of the letters, rendering the enclosure unusable.

I do enjoy doing these, but the technique doesn’t scale well, and isn’t worth doing for no extra charge.

Yep, that’s sampling noise, baby! You’re hearing the delay chip being run extra slowly to achieve longer delay time at the cost of fidelity.

A traditional DSP-based digital delay, as you may be used to, runs at a constant speed and adjusts delay time by changing how much memory it uses to store samples that it reads from the input of the pedal. It is always reading from the end of the memory block, and changing delay time changes the distance between the read pointer and write pointer (ie, how many bytes of memory are used to store delay samples).

Conversely, the very primitive digital delay chip used in the T-120 (the PT2399) has a fixed memory size, and adjusts delay time the same way that older BBD delay chips did - by changing the speed at which it reads in/outputs samples of the audio signal.

The consequence of this is that longer delay times necessitate longer spaces between each sample - ie, less detailed information is recorded. And as the amount of organized information decreases, the amount of disorganized information (noise) output at the end of the delay increases to fill the void.

If you’re finding the noise to be far louder than you can deal with, there are steps you can take to help with it - make sure you’re using a well-regulated power supply. Try using a different amplifier (some really emphasize the frequencies where this noise lives). Don’t daisy chain the T-120, to ensure that it’s getting clean power and not picking up interference from another pedal.

Worst comes to worst, give me a shout and I can try to help you figure out what’s up and resolve it if at all possible!

Sometime in 2019 I got a faulty batch of Op Amp chips that were used for the LFO section of a couple dozen or so T-120 Deluxe V1s that made it out the door before the issue was caught. The problem was that they didn’t fail right away. They would only fail after a certain amount of time of being powered. So, if you’ve bought a used T-120 DLX V1 and your mod section isn’t working, I’ll be happy to repair it for you for no charge, or instruct you on what to do if you or a friend feel up to trying the repair yourself!

The first bunch of T-120 V2 and T-120 DLX V2s used the same enclosures as the V1s, but had decals on the side of the enclosure that faces you while you’re playing with a Demedash Effects logo, and the text “T-120 V2” under it.

Later on, the enclosure art was updated to include the labelling of secondary controls, as well as printed text that says “V2” right on the main face.

If you’re still unsure, take the rear panel of the pedal off, snap a photo of the circuitboard inside, and email it to me at steve@demedasheffects.com and I’ll be happy to tell you which yours is.

The T-120 V1 Used an analog LFO, while the V2 uses a digitally generated LFO that allows for a broader range of interesting modulation options, such as randomization and glitchy jumps. The V2 has secondary controls (“Glide” & “Randomize”) that allow you to control these.

The V1 was made from mid-2018 to early 2020, and in that time the circuit was being changed constantly as new things were tried. As such, the following features are found on some V1s, but are present on all V2s:

• Mix control that sweeps from completely dry to completely wet

• Soft-touch switching

The DLX V1 has the same features as the T-120 V1, with the addition of soft-touch switching, a secondary footswitch that allows for momentary engagement of self-oscillation, echo trails (always on), and stereo output (via a 180 degree phase-shift of the right-hand channel).

The DLX V2, released in December 2020, contains the same updates as the T-120 V2:

• ‘Glide’ Alternate parameter on Depth control (allows squaring/smoothing of LFO)

• ‘Randomize’ alt parameter on Speed control (allows blending between a periodic, even LFO and a randomized one.

It also features the following updates:

• Tap-Tempo with 4 selectable divisions

• Switchable Echo Trails

• Improved stereo image (only wet signal is phase shifted)

The easiest way to visually distinguish between the two is that the Deluxe has two footswitches, which the standard model has one.

Feature-wise, the T-120 Deluxe V2 has all of the features that the regular T-120 v2 has, as well as:

• Tap tempo + 4 selectable tap divisions

• Switchable echo trails

• Momentary self-oscillation footswitch

• Stereo output capability

The T-120 Deluxe V1 has Echo Trails hard-wiring to be on, with no option for turning them off. In retrospect, this wasn’t a great design choice, and I made sure to make echo trails switchable on the V2.

So yeah, you’re not crazy. It’s definitely annoying. I fixed the design in 2020 but I can’t change the past. If you want to just upgrade a Deluxe V1 to a V2 shoot me a message and I can do that for you for much less than the cost of a new pedal.

All analog choruses will have a bit of hiss, but if you’re experiencing an unreasonable amount of noise, there’s probably one of two things happening.

1. You need a power supply with better filtering & regulation. Sometimes a OneSpot or equivalent is fine! But when noise is an issue, this is usually where you should start. The supply itself may not add noise, but rather, you may have very noisy power lines in your home, and you simply need a pedal power supply that is equipped to filter out all that noise.

2. You have Regen turned up. Regen is the secondary/alternate setting on the Depth control.

   To turn it fully off, engage the effect, then hold down the ‘Eng/Alt’ footswitch and rotate the Depth/Regen knob fully counter-clockwise. Release the footswitch and turn the knob back up. You should be free of whale sounds now!

   Regen is a very cool thing to be able to add in, but it is one that comes with tradeoffs (whale sounds), and those may not be worth it to you!

If you’re using a hot input signal, you may run into some clipping issues.

The best way to get around it is to put the pedal in a send/return loop so you can attenuate the input level and then boost it back up after the output.

Sounds like you’re running the T-60 into a DSP-based stereo effect that sums its inputs!

The T-60 inverts the effect signal on the right-hand channel. So if you use the stereo outputs, and they get collapsed to mono, your effect signal disappears.

Many DSP-based effects with “stereo” inputs don’t truly treat their inputs as stereo. They send the individual left & right channels through as dry signals, but they sum them together before processing the signal. This will cause your effect to disappear if you mix the DSP effect fully wet.