SOUND: This pedal has a ‘dark’ and warm sound, in that the echo sits comfortably in the background without producing too much treble in the signal. Consequently, if you’re looking for a brighter echo that ‘pops,’ then this is not it. Rather, if you’re looking for an echo that fattens and compliments the original tone, while keeping things simple, then the 2399 Echo may be an ideal choice. Besides its organic overtones, the 2399 Echo does sound very analog in nature, which is inherent with the PT2339 chip after which this pedal was modeled. It may be digital, but it sounds convincingly natural. The infinite repeats (with the Repeat knob up full) sounds both interesting and usable, since it tends to remain at a constant volume and pulse, unlike some delay pedals that tend to swell the repeats’ volume to the point of the user having to dial back the control to stop the insanity. The degree of delay is decent and sufficient for most instances, maxing out around 600ms, although that may be a bit short for some ambient players or those looking for a 1+ second delayed response. The Mix controls the wet/dry signal, and even when up full there is plenty of dry in the mix, which may not be ideal for those wanting 100% wet (or nearly so). Nonetheless, the quality and intentions of the 2399 Echo are solid and worth investigating, particularly if you’re looking for a simple-to-use, bare-bones delay that does its job well. Lastly, the Modulation option (via the toggle switch) has a great sound, which is very chorus-like in nature, although emulating tape movement/warble (this can be tightened up via the trimmers inside, so that it does mimic more of a chorus). OVERALL IMPRESSION: The 2399 Echo is one of the latest, designed by the in-house engineer, Pedro Garcia. Direct from Spain, the 2399 Echo is based on the PT2399 chip (hence its name), known for its authentic analog sound, although digital in nature. This chip is capable of 1000ms timing, but you tend to lose quality the longer you extend the time; and so, Pedro kept his creation to 600ms. You can have the delay repeat only once (Repeat turned all the way down), infinitely (Repeat turned all the way up) or anything between. The Mix does not produce 100% wet when turned all the way up, and so you don’t have to worry about the original signal getting lost just in case you dial it up too much. The included Modulation option (via the toggle switch) is a great addition that sounds fabulous with clean signals, emulating natural tape movement; you can adjust this under the hood with the trimmers, so that it gives more of a chorus effect and less ‘warble.’ Overall, the 2399 Echo may be bare-bones, but it sounds very authentic (a natural echo tone) without overpowering the original tone (no matter the Mix-Repeats-Time settings). The Modulation is merely icing on the cake for this great sounding pedal at 110 Euro. GENERAL USE: There is no tap tempo function on this pedal, and so settings need to be made by hand and with the control knobs. The Time can be very quick and slap-back-like, and upward of 600ms, which tends to be enough for most applications, barring ambient and slow melodic leads that like to exaggerate the delay effect. The Repeats, likewise, can be a single repeat, ideal for slap-back and room echo type results, and upward of infinite (dialing back a millimeter or so on the control brings the repeats close to infinite, but begins to fade slowly within 5-6 seconds). The Mix determines how much wet versus dry you hear, and even when up full there is still plenty of dry in the signal (it’s not 100% wet). The Modulation is controlled by the toggle switch (on and off) and it, too, is controlled further by the Mix knob (more mix = more modulation heard in the signal). As stated, you can adjust the degree of modulation by way of the trimmers inside the pedal – to produce more of a chorus sound rather than a full-fledged tape warble/flow effect. OTHER DETAILS: The 2399 Echo has an all-metal chassis has a powder coated dark blue with white writing/graphics and measures 4.5 (L) x 2.25 (W) x 2.0 (H) inches or 11.43 x 5.7 x 5.1 cm. The footswitch feels solid with a click when engaged/disengaged, although there is no audible clicking in the signal. All knobs are heavy plastic and the pots feel smooth and solid when turned. The Modulation switch has a solid feel and clicks in place in the three positions very well. All input/outputs are located along the sides of the pedal, and so some care is required when stomping. The Main Fuzz requires a 9VDC standard power supply (negative tip) while drawing 25mA of current.