Maestro Echoplex EP-2

Andy Summers used to use a vintage early 1960’s valve Maestro Echoplex EP-2 tape delay for echo/dub effects on his guitars during the late 1970s and early 80s, and had been his go-to for delay effects for much of his career with The Police.

Background
He acquired thr Echoplex circa. Autumn 1978 (around the time of releasing Outlandos D'Amour) and took it on board for the North American tour later that year.

Andy had in fact bought the echoplex from Pete Cornish, whom he commissioned to build a custom effects pedalboard. Cornish had used the Echoplex on his electric flute which he was in a band. After the breakup of the band, the Echoplex was no longer of any use to him. When Andy came and asked Pete if he had a good echo device, he let Andy play his Echoplex, and was happy to let him buy it off him.

The Echoplex can be heard on "Deathwish" and "Walking On The Moon" from the Reggatta De Blanc album (both being notable examples), as well as songs from other albums. Live, it was used on "Can't Stand Losing You" especially.

According to Guitar World, Andy would set the Echoplex echo to a single repeat, with the echo volume at the same level as the dry volume, and this created a rhythmic effect "courtesy of overlapping resonant sustain that can’t be duplicated simply by playing two strokes in quick succession." It appears Stewart Copeland had also used the same single-repeat effect on his drums with the Roland Chorus Echo.

The Echoplex was particularly useful in creating Andy's so-called "wobbling cloud" effect which involves lots of echo (not necessarily on single repeat).

Andy had owned two Echoplexes in The Police. One of them, unfortunately, was stolen off him when there was a riot in Italy that broke into the band's dressing room.

Quotes on the Echolpex
"'As we went on, I managed to acquire more things, but the big move was getting the Echoplex, because I found that I was able to add another dimension to the band in terms of the reverb, and the largeness and scale of the sound. In particular, I found a way of setting it up — I remember it very vividly — where I could play eighth notes and get 16th notes to repeat. [I’d use it when] we’d play “I Can’t Stand Losing You” toward the end of the set, and it became kind of a signature thing. I basically used the Echoplex from the very earliest days — I got it a few months in — right to the very end; I didn’t change it up. I think I also got a Roland Chorus [Echo] but it didn’t do what the Echoplex did.'"

"'Usually you get one element that starts the magic working and pulls everything else in. Something like 'Deathwish' came out of the sound of the guitar with the Echoplex. We were fooling around, couldn't really make it work, then I switched on the echo and started this repeat going, working over a D. Then I found certain pull-offs in the scale were really working, and the track suddenly started to form itself.' (Two Testing'', May 1984)"

Explaining the "wobbling cloud" technique:

"'The basic technique consists of playing through an Echoplex with echo volume set to about three-quarter maximum and a volume pedal with a compressor; the movement of the chord position between swells and the choice of harmonies are crucial. Wearing a long-sleeved shirt is also helpful as the right arm can pivot as a long-handled brush on the strings above the twelfth fret - sea island cotton produces a pleasing tone. The effect is that of a shuddering, trembling cloud of sound which teeters on the brink of collapse at every second.' (Musician, June 1983)"