Expansive delay & modulation with curated controls.
No menus. No second functions.
01 · THE PROBLEM
An effect pedal stops being an instrument the moment you have to memorize how it works.
Most delays with this much range hide it. A few knobs on the face, forty parameters behind a button, a cryptic display, and a manual you keep nearby. You never truly explore its full potential because you can’t remember how to navigate the menus or what a triple press does.
g > lay has eleven controls, each with a clear role printed on the panel. Everything the pedal can do sonically is visible while you are playing it. No secret codes, nothing is nested, nothing obfuscated, no control excess, and no decision paralysis. Keeping you inspired and creative.
02 · WHAT IT SOUNDS LIKE
What it sounds like.
RECORDED DIRECT. NO REVERB, NO COMPRESSION, NO EDITS.
03 · EVERY CONTROL
The controls.
Fully dry to fully wet. Noon is 100% dry + 100% wet.
One millisecond to two seconds, continuously. Scaled for increasingly higher resolution as delay time shortens. The knob is oversized to provide even further granularity for fine adjustment.
One repeat to self-oscillation.
Bucket Brigade style analog delay, Tape style analog delay, and transparent Digital delay. The twist being that the analog delays can be blended in for the perfect level of saturation and warmth.
Noon means neutral. Warmer tones counter-clockwise. Brighter tones clockwise. Past 3 o’ clock introduces octave up shimmer.
Noon means no modulation. Turn counter-clockwise for triangle wave pitch modulation. Turn clockwise for organic, pseudo-random pitch modulation. As you move towards the knob extremes, the modulation depth increases.
0.1Hz to 12Hz pitch modulation control.
Allows the effect to trail out when the effect is turned off instead of an abrupt bypass.
When on, upmixes left input to stereo output. When off, normal stereo operation: left in to left out, right in to right out.
Tap tempo. 3 taps to lock in the beat.
Turns the effect on and off.
04 · ANY SOURCE
Not just for guitar.
The input stage takes passive, active, or piezo pickups or even a line output without a pad. The output can drive a console input without a DI. Flexibility beyond just guitar.
05 · DESIGN & MATERIALS
Die cast zinc
The enclosure is cast from zinc and powder-coated.
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06 · FEATURES
Key features.
Two independent channels of intricate analog circuit modeling 8X oversampled to 384kHz @ 32-bit + tone sculpting + organic modulation + spectral pitch shifting + mastering-grade limiting.
Sets the input for whatever you plugged in, from a passive pickup to a modular synth output. Set it once for the rig and leave it.
Full MIDI support. CC and NRPN control, assignable expression, and clock sync. Class-compliant USB MIDI via type-C port works on iOS, macOS, Windows.
For the things that are not on the panel and never will be: firmware, MIDI mapping + presets, global preferences. No sounds live in it, and the pedal never needs it. The editor opens in a web browser with USB-C connection.
Six lamps on the face. Power, effect on, delay time/tempo, trails & upmix on, clip indicator. Readable from standing height on a dark stage.
DESIGNER’S NOTE
I built this delay and ultimately this company because I simply couldn't find a delay I liked. Everything I tried was either too feature-limited or so feature-rich that it was a user experience nightmare.
The design of g > lay followed a few essential rules: don't hide anything, every control does one thing, and every parameter tweak should be audibly meaningful.
SKYLAR GRAY · GRAY INSTRUMENTS
08 · SPECIFICATIONS
Specifications.
09 · IN THE BOX
In the box.
NO POWER SUPPLY. YOU ALREADY HAVE ONE.
10 · NERD STUFF
What it does, and what that gets you.
FOR THE NERDS AMONG USThree delay technologies blended into one TYPE knob.
Bucket-brigade circuit model, tape saturation model, clean digital. One control sets the character of the repeats, from circuit-modeled and dark to clean and precise, with no hard switches or menus.
Delay time that glides when the knob moves and snaps cleanly on tap tempo or MIDI clock.
Manual changes sound like a transport speeding up; tempo changes do not detune the repeats.
LFO knob centered on zero depth. Sinangle wave one direction and an organic, semi-random character the other.
A single knob produces both a smooth, predictable pitch wobble modulation as well as an unrepeating, tape-like wow & flutter. Modulation off sits naturally at center. What's a "sinangle"? Not quite a triangle, not quite a sine wave, definitely smooth and natural.
Delay times as short as 1 ms, modulated by the same LFO.
The ultra-short delay capability + LFO knob reaches into flanger, chorus, and vibrato territory. All running through the same blendable analog & digital circuit models as the delay.
Spectral pitch shifting.
Shimmer and pitch effects when the TONE knob is cranked. For a spectral octave up, set TONE full, FDBK 0, TIME 0, MIX full, LFO center.
Brickwall limiter inside the feedback loop. Master-bus output limiter.
FEEDBACK can be driven into self-oscillation without runaway, and the output is protected by transparent mastering-grade peak control modeled after the venerable L2 lookahead limiter.
Trails, switchable by touch or MIDI CC.
Repeats ring out and decay naturally when you switch the effect off, instead of cutting off mid-note.
Tempo arbitration.
The delay intelligently follows whichever source was touched last: knob, tap, MIDI clock, or preset recall. No modes to set.
A web GUI served from the pedal itself over USB.
A browser reaches the pedal directly. No driver, no installer, no account. iOS, Windows, macOS.
USB MIDI class compliance. Modern USB-C connector.
Drops into an existing MIDI rig or DAW without a custom driver or special software required. The same protocol every DAW and hardware MIDI controller already speaks. Who doesn't love MIDI?
It isn’t finished. We’ll share when it is.
Availability and Price coming soon.
NOTIFICATION LIST
IN DEVELOPMENT