Rock Hard Inc. The Plex Tube Echo Chamber

Extremely easy to use and understand once you get it turned on!
I really enjoy the layout of this machine. I suppose it is just like the old echoplex but since i have never used one of those i dont really know. Point is... Super easy to use.

I use this baby with mostly fender guitars. I have a tele plus, and a rare tele elite. Sometimes i play a rick 360 too. My floor set up is mostly lovetone products depending on how i feel, i will typically have a the meatball, brown source, big cheese, and ring stinger running. I run these into a fender twin or mesa dual rec (and very soon into a landgraff combo.) The sound of this unit is Phenominal. I have owned MANY delays, line 6 dl4 and echo pro, boss dd5, and roland re-201 tape echo to name a few. And this unit is by far my favorite. The only one that comes close is the roland re201, but it just isnt as warm, or as easy to control. Dont get me wrong, the roland is not hard to control, but i think it is much easier to get extremely cool delay sounds out of the rock hard inc. From slap back, to atmospheric, to overdriven... ALL are fantastic. I am not sure how well it works with most ordinary gear because i have berid myself of most of the junk, but i am sure that it will fatten up whatever tone you have.

I bought mine used. I didnt even intend to keep it. I just wanted to hear one (i figured i would sell it and keep the space echo i have been using.) So far no problems. I guess some people have had poor luck with their units, but i cant imagine their being a problem that would yield a unit unusable. The inside seems really straight forward in it's layout (it's analog for crying out loud.) Any tech worth his salt should be able to fix any problem that this unit could throw out. Hopefully i will never have to deal with that dont want to ever take her out of the sign chain. But if it did, i am not that worried.

Company gone.

I play mostly rock and brit rock. Although i dabble in jazz and country. For all my needs this is the best delay i have ever used. I have been playing for 7 years now, and i have been through a boat load of gear. If this unit were (haha, the question says lost... or stolen ) humm, Well if the unit was stolen, i would look for the musician with the biggest grin on his face, And beat the crap out of him. Take my unit back and probably look for another on the black market (ebay.) If it were lost... that would suck. I love the tone this baby puts out. I hate that you have to open the top to use it. But whatever, that is a small price to pay for the beautiful sounds.

It is very easy to use if it is working. I have had several problems and no where to turn.

It sounnds good when it works

This is the deal as someone stated previously: There is no technical support for this unit, If you buy it you are own your own. The company that makes these is gone by by. Good luck getting one fixed. My unit was a lemon. some may be better than others but who knows do not by a used one!

A big ZERO

Buy an original!!!!!!

I have never submitted a review before but this company's service was so poor that I feel others should be warned. I had bought a Plex used from a gentleman which, upon arrival, did not work properly. That wasn't a problem, he was very honest and we worked through the sitution. What really teed me off were my failed attempts to have Rock Hard, or Playmaster as they are also called, give me any help at all. I called three times and E mailed twice regarding a footswitch and this problem. No one ever answered the phone, there was always a recording. I left my information and no one ever responded. There were no responses through E mail either. They don't even put their phone number on their website so that is a pretty good indication that they don't want to be bothered. They sell an expensive piece of gear and then provide no service and no information as to how to get it serviced anywhere else. I was warned by a couple of music pros, one a builder of a highly acclaimed piece of gear and another an award winning producer and gear hound, that this is not a quality piece of equipment and is prone to problems. I ignored them, unfortunately they were correct, and then wound up in this situation. Everyone has something to sell, it is when excellent service can be provided after a sale that I deem a company worthy. They didn't just fail, they didn't find it enough of a concern to give me any response at all. Rock Hard or Playmaster is apparently too busy marketing guitar trinkets like slides and capos to deal with those who have spent a great deal of money on this piece. This is the only piece of gear they build, they are basically a slides and trinkets company who have proven that they are in way over their heads by even trying to produce the Plex. Buy one at your own risk.

This is hands down one of the easiest effects box to use. There's only 4 controls: Record, Repeats, and Balance, plus the delay time, which is controlled by the slider that adjusts the distance between the record and playback heads. Without even having to ask anyone or read a manual, I got this working great in the store. Very practical and easy to understand!

I don't really think that there is a way to start to describe something like this. I mean, it is a vintage sound that perhaps doesn't apply to everyone in need of a delay device, but the sound is more warm and fat than any other current delay box. The only thing I have heard that can even compare, probably because it was designed after them, is the original tube echoplexes. True story: I was researching echo boxes long before I even knew about this. I had asked someone behind the counter to let me compare the Boss DD-5 with the Line 6 DL-4 delay modeler. There was this combination of amusement and shock from him, as if I would even consider the DD-5 when for $100 more then Line 6 does things the Boss can only dream of. However, after owning The Plex, I would be absolutely shocked why anyone after a great sounding delay would fathom buying an expensive modeler (such as the Hughes & Kettner Replex), when for not much more you can have the real deal - the sound that defined records ranging from early Chet Atkins to Jimmy Page.

However, as with any tape delay there is a certain amount of running noise. It is not too bad, especially considering that the tone of this will floor you, regardless of a little noise from your amp. It does seem to get noisier, however, the shorter the delay time. The noisiest it gets is when you have the record and playback heads so close to get the vintage slapback sound.

I tested this though a vintage Twin Reverb with a Strat. I then ordered it directly from Richard Beck, who builds these things. Since getting it, I have played it through my Rivera Sedona amp, using either my American Deluxe Telecaster or SuperGretsch (modeled after the SuperChet from the '70s). All setups sound absolutely great. In particular, Chet Atkins inspired me to invest in the tape delay sound - as that is what those early records ("Fingerstyle Guitar," "Mr. Guitar," etc.) were recorded with - a Gretsch and an echoplex. However, being a long-time fan of the tonemeister, Eric Johnson, I was also pleased to have a box that emulates his delay sounds (he uses a '70s original echoplex). In one word this box is awesome.

I believe I can really depend on this. I would use it on a gig (and will in a matter of weeks) without a backup...however I do have extra tape and I wouldn't recommend leaving for a gig without extra tape, and maybe even tubes (especially if you're going on tour for a while). Everytime I plug it in it sounds great - that's enough reliability for me.

Here's the deal - the company's web site is basically worthless. It does have a very nice write up and review on the plex, but nowhere is it specified how to get a hold of one. I had to call store after store until I found one. After I played through it I ordered it direct, which I didn't know that I could do until I called the company in Indiana.

I had to wait a little longer than expected for the unit. It took about 3 weeks to get, when I thought I would get the unit the week I ordered it - I was told they were ready to ship. Also, it was not made clear that the unit did not come with the optional footswitch. I had to by my footswitch here in Nashville. Still, every bit of the wait was worth it considering my sound quality review.

Again, I can't say enough good things about it. Really, comparing this to a digital box is like comparing a '54 strat to a cheap Squier!!! I've been playing for about 10 years now, and I play a bunch of country (tele-style, Chet-style boom-chick), blues, and some of the more classic rock (Clapton, Hendrix, etc.) If it were stolen I'd replace it for sure. This is something that totally helps me to make a musical sound, while using an effect. Too many effects just get in the way - this doesn't. It is a piece of art.

Well to begin with, I never owned a tube Echoplex before, so I don't know how it really operated apart from the basic mechanical theory. Upon receiving this in the mail and setup I could not get it to work at all. I re-read the manual a few times and after several attempts I realized that I had to let the tape run for about five minutes. I guess it was because the tape was a brand new tape or something. It had to be broken in. Everything else was a bit experimental. It was really easy to use after I got it to work.

I have so many records that feature the tube Echoplex, so I had a good idea of what sound I wanted. It sounds beautiful. I don't know if I can explain it. It's an emotional experience. Probably the most fun I've had on my Fender, ever. Sweetest tone, and echoes that repeat into the black space in your mind. It's almost spiritual. Now I have to find a reverb that is just as good. Maybe the Victoria Reverberato. You can set the Plex to get a edgy distortion and changes the color of the repeat with an evolving echo. Great when you do harp like harmonics. A bit hard to use with lead, but I think it's just because I haven't experimented enough.

Well, here's the big debate. I don't know how reliable the Plex can be if you don't know how long the company will be making tape cartridges. If someone can make a tape cartridge that can be taken apart and reused, then I think everyone can splice their own tape and never be afraid of not finding new carts. That's why I wished that someone remake the old Roland Space Echo. Also, a point on reliability, I think that it was a stupid design decision to make it where you have to unplug the Plex when you want to close the top cover. It's anoying. Cleaning the Plex is just like cleaning an analog reel to reel recorder. It's easy and necessary. If anyone knows how to open up the cartridges and load new tape, let me know. You can't depend on one company to supply a part for many years to come.

The company is crap to respond to you if you e-mail them. They are very slow, and their website is very bad. It doesn't tell you who sells their product. The only way to get in touch is to call them. I'm sure they are great people, though. Getting replacement cartridges is hard because their supplier seems to be unreliable. They have me waiting a month until they get anymore carts in stock. This is the very reason why they should make a user friendly cart that can be openned and re-used easily. We can't be dependent on them forever.

Awesome. I wish that they were not the only ones that were making tape echos now. It needs innovation and competition to make these things more reliable as far as tape carts are concerned. I love it. I hope that the company can stay in business and offer other similar products in the future. Maybe a Roland style Space Echo in the future. I wish them the best of luck.

there is some noise, but its part of this things personality

i use this thing all the time......and have not had any problems. just clean the heads and replace tape cartriges ......its a piece of cake.

very good people

there is absolutley NO!!!!!!!! comparison to a tape delay. i actually have purchased a maestro ep4 because i am hooked on this sound. guitar vocals drums tape echo is magical. if mine were stolen i would by another ......NO DOUBT ABOUT IT.

Very easy to use, but experiment with balance and record levels to get best results, particularly when using in an effects loop.

I bought an EP-3 echoplex in 1976 and have been using it since, including replacing motors, etc. Although I have owned and used some of the best digital and analog processors, there is still nothing like a great tape delay. I waited to write this review, (7 months), to make sure about comments. As great as my EP3 sounds, this unit sounds better and is quieter.I use the Plex in the loop of a Bogner Shiva and it does not alter the lush tone of this amp. My guitars, PRS custom 24, hollowbody II, G & L Asat classic, fender strat ultra, etc. retain their individual tones thru this set-up.

No problems, very solidly built.

Richard Beck is great to deal with and has truly improved on a great product.

Have been playing professionally since the mid 70's, have a complete studio, and have owned most guitar pro gear throughout the years. This reissue is the real thing - do check one out.

I don't have time for a long review but this product is so good and the guy who runs the company is the "real deal", I thought I would add this little bit.

This is the tone!

Haven't had it long, but it is tubes.

THe guy is rasy to talk to and deal with. Could not be better

Jazz-Rock-Fusion

Just plug your guitar into the input and run a chord from the output of the Plex to the input of your amp. The Plex has three controls, one for recording, the other for wet to dry sound and the last for number of repeats. The controls are easy to use and responsive to your playing. It sounds great righyt out of the box.

I usually use a 1953 Fender Twin coupled with either a 1957 Telecaster or a 1962 Strat. The Plex is the last effect in a very short chain that also employs a Klon Centaur. I was using a delay peday prior to employing the Plex. The difference between the digital and tape delays are amazing. The Plex is very organic and warm, soupy and mysterious. It's tube driven and has a certain amount of harmonic distortion whivch you can enhance by turning up the record knob. The delay sounds great and you can tune in anything from a bouncing reverb to a distant repeat. I haven't turned it off since I got it, while I usually used the digital delay sparingly. It's almost as if the Plex is an extension of the amp, rather then an effect added later to modify my sound.

I haven't had it long enough to comment on reliability, but we're talking old technology here. therefore, stay on top of changing tapes (easy to get) and cleaning all tapeheads and spindles (easy and accessible). It has a direct drive rather than a belt so I'm assuming with care this piece of gear will last. There are, after all, old Echoplexes floating around in the vintage gear market that seem to be in good shape. I assume they were well cared for and thus able to survive a few decades of use.

The Plex arrived and after opening the carton, I found the tape was not being pulled thrpough the spindle. I assumed it was jostled in shipping and needed an adjustment. I called Richard at Rock Hard and he had it picked up ASAP and back to me within two weeks working perfectly, no questions asked. He was a pleasure to deal with, very responsive and true to his word. He gets my highest recommendation in relation to being trustworthy and reliable.

I've been playing music, primarily guitar, although I do session work with banjo, mandolin, pedal steel and lap/dobro, for over thirty years. I play an amalgam of country, swing, blues and jazz. I used to have an echoplex but dumped it many years ago as I chased after the analogue and digital revolutions. It's funny because after all those years of gear experimentation, I've decided that the older gear sounds best and certain old technologies also just plain sound better than digital. Case in point, The Plex. There just ain't anything better. If you're thinking of buying a modeling pedal, you should be patient, save your money, and get the real deal. You won't be sorry. The tape delay really does sound that good.

Simple to use. Nothing is going to stretch your brain, here.....balance (amount of dry to wet signal out), repeat (amount of repeats), record (amount of signal recorded to tape), moveable playback head (length of delay). It's pretty big so it might be hard to find a space for it if you are a rack monster in a five or six piece band, and you want it within reach for manual control. Of course, you can't save presets on it, but the scale on the top of the unit lets you easily mark off where delays need to be set for different songs. I mention this because approximations freak some guitarists out when dealing with delays, but its not that difficult. Really. The manual is simple and straight forward.

I honestly don't know where to start.....Alright, tone is subjective, right? There are sounds that some people like, and some don't. But every now and then, something comes along that everyone can appreciate. Whether it be a song, a guitar player, a 'tone'; to some people it might not be their 'thing', but they can still appreciate the strength of character in it's sound. The Plex is like that. It is, beyond any doubt, magic. Pure magic. That's not to say its perfect (it does have some quirks), but the character of sound it generates is so.........cool......that it stands on it's own cloud.
O.K. This is sounding a bit full on, so time to get technical.
My main axe is a '69 Tele, I also play a few strats and Les Pauls. I run a Matchless dirtbox and a BAM classic overdrive into a sweetsound vibe, Phase 90, some electro harmonix gear, some other stuff into a '65 twin reissue and old S.O.B. Mesa 50 watter. I have owned several tape delays, from original echoplex's to roland space echos, a copycat, some other less well known stuff and a memory man, as well as digital units from Alesis to Boss. I'd LIKE to think that I have a pretty good perspective on delay units, but hey! we are learning all the time, I suppose:o)
The first thing that gets you after you have run the unit in (see below for more on this) and started playing is that you can't stop smiling. This thing is SO warm and fat. It sounds just like I imagine an echoplex to sound when they were BRAND NEW 40 odd years ago.
The roll off is PURE echoplex (Just in case you connuesuirs were worried, it has got ~IT~). Progressively menacing and soupy. A real presence and feel. Almost like an extra dimension in the sound, not just a delay. You can't even compare it to a digital delay. It's almost like comparing a tubescreamer to a metal zone. They are that different.
The tone is far more dynamically balanced than a Roland, (which I love but have a tendancy to be a bit thin) and MUCH quieter, which was such a relief, as I had heard the claims about the running volume of this product and was a little sceptical. Sometimes tape delays can be so damned noisy you want to pull your hair out, but this thing is very polite. The 3 valves really contribute to the tone of this machine. You couldn't ask for a more warm and round signal. Your tone is safe, on or off!
The controls are all well ranged, although the repeat knob is kinda like your fender, most of the action happens between 3 and 6. More than that and you get runaway repeat buildup, which is cool and beatiful when controlled (Portishead!), but death for the unprepared. And I'm not just talking any buildup, I'm talking exploding speaker cone size distortion buildup! Cool!
The moveable playback head (slider) is easy to use and makes all the cool sci-fi noises like the old units did, but I must confess to being a fan of the sliders on the later models. Moving the playback head whilst playing is where the fun is had, as you never know what sound you will get. Completely spontaneous.
The delay time can range from pure slap back rockabilly, Red House, to reverb, to Whole Lotta Love, and seems to have a little more time on both sides of the equation than the original. (I actually used the chamber reverb on a drum track and it sounded great!) It really IS an echoplex, guys and gals. No bones about it. They nailed it. And because it is new, maintaining it isn't a matter of of fixing up a dying warhorse, more like giving it a clean every now and then! Phew!
And it works as well on stage as in the studio, thankfully, as lets face it, live is where it is at for most of us. I have used it non stop for the last month and a half of gigs and it hasn't had a dud night yet (unlike my Fender, which is also a reissue but very temperamental) It's presence carries very well into the live environment, where it sometimes feels like an extra person in your band! Makes you feel cooler, too:o)

Haven't had it long enough to judge. But one thing worth mentioning is that you should let it run in for a bit before playing, or you'll be freaked out. The parts need a bit of time to get worn in, and you'll probably find a bit TOO much 'wow and flutter' at first. Just give it a while (I ran mine for about half an hour) before making a tonal opinion!

Richard at Rock Hard inc. is who I dealt with, and he is a very very cool guy. Answered all my tonally paranoid questions with grace, got it to my door (I live in Perth, Australia when not touring! Not the easiest place to get things to!), joked about why Jimi Page was so damn good and generally helped me out in a big way. Made me feel as though he had built this thing just for ME :o) Makes it easier to part with cash when you know it goes to a good guy, eh? I hear he put a lot of himself into this machine, as much as you or I do into our music, so it's nice to think there is passion all the way down your signal path from guitar to your amp!

I play original music which is apparently like a cross between Tim/Jeff Buckley, Radiohead, Tea Party, SRV, Portishead, Hendrix and most importantly the mighty Led Zepp.
I have been playing for seven years on the live scene, and toured/ recorded consitantly. Seen and played with a lot of bands and genres, and I like to think I know enough to know what I like! This delay is now like my 'no.1' (SRV's magic strat), I need it and would move heaven and earth to replace it if it was stolen. (Which happened to some old stuff of mine before I got the 'Plex)
Regardless of whether you like modern or retro tones, the delay sound is completely sexy. It really adds more than just a delay, it adds a feel to the delay. It's as if YOU are playing every repeated note with a tiny new expression/nuance. I realise that for some modern players, crystalline/thin repeats are a necessity as there is a lot going on in a mix and you need the sharpness that digital provides. But try the plex in this situation and I think you would find it would not only cut it but may add an extra dimension to your sound you think you couldn't find.
Of course there are more specific delay units (Alesis 'verbs, boss delay/pitchshifter, eventides etc) but I think the Plex is quite versatile. And I hesitate to compare it to any other tape delays as that can be such a measure of style and taste. But IMHO, the 'Plex EASILY whups them all in terms of entire, consistantly useable, sonic integrity. You owe it to yourself, and your sex life, to at least try one. Girls/guys/whatever will flock when they hear this, I swear. :o)