"I brought my ancient EchoPlex, made by Maestro, and it is an old tube one. Got it when KISS was doing Revenge, as a studio called AMIGO was going out of business and they had a fire sale. Great find, as it is such a cool sound. Tubes make things warm and fuzzy we say, and it just gave that track a great tone."

"He runs his MXL 960 Tube Condenser mic through his secret synth, an Electrix WarpFactory vocoder, and a Maestro Echoplex tape delay."

Echoplex tape delay: Greg had several of these and besides the Distortion+ it was the only "effect" he ever used. It is, with no doubt, the key to his guitar sound and style. Without it, he would be missing his natural "huge" solo sound and his ambient guitar playing would be at a miss. His Echoplexes were early solid-state models that he modified to accomidate a footswitch

Tom states he has "some cool effects – two Echoplexes, an Echorec made by Guild" that he uses

I could probably swap out everyone of my effects for something new but one crucial piece of gear I must have is a tape delay. I’ve had a half a dozen Echoplex’s since high school and even though they can be fickle, the sound is pure magic. A tape echo has cleaner repeats than analog delay but degrades more natural than digital, so it’s a beautiful mix. I love the extra shimmer from the tape rolling around and the tone coloring of the Ep-3 circuit as well. I have a TTE at home, but the Maestro Echoplex is still my favorite.

Emote with Your Echoplex Speaking of innovative, Bolin even figured out a way to “play” his Echoplex that went way beyond the norm. “The Echoplex was almost like another instrument to him,” says Johnnie. “He actually had two of them mounted on a podium. He would use the echo as part of the solo or to end the solo, but he didn’t need it to disguise anything. He had it down to where he knew how to get all kinds of rhythms out of it.” One of Bolin’s favorite Echoplex tricks was to preset an eighth-note, eighth-note triplet, or sixteenth-note rhythmic delay time, dime the “repeat” knob, then click it on for the last note of a phrase to produce a quasi-dub effect. (Fact: TB was a reggae fanatic.) He also loved to let the signal run away into regeneration feedback while he simultaneously manipulated the playback head to either change pitch or cause all kinds of multi-speed regeneration mayhem. (The Echoplex playback head is mounted on a manually adjustable horizontal slider as you face the box.) You can hear this in action on Cobham’s “Quadrant 4” (Spectrum), Mouzon’s “Golden Rainbows” and “Nitroglycerine” (from Mind Transplant), and the killer live versions of “Post Toastee” and “Hard Chargin’ Woman” (a mind-boggling solo where, at 6:12, Bolin actually trades “twos” with his echo feedback!) on The Ultimate: Redux. To end the effect, Bolin could either cut off the regenerated signal abruptly with a footswitch, or by gradually backing off the repeats knob until it faded out naturally. Another fave move was to momentarily effect a totally dry solo tone with a few bars (or even half of a phrase) of prominent slapback echo, as witnessed at 3:10 into Cobham’s “Red Baron.” Realizing that only tape echo will give you the real deal (you can accomplish this with some digital delays, but we’re going old-school, Bolin-style here), set your tape or analog unit of choice to a 50-50 wet-to-dry signal ratio, dial in some preset regeneration feedback by cranking the “repeats” knob, then revisit every lick we’ve covered thus far, switching on the echo on the last note. The next choice is yours: Either cut the echo off abruptly, or head to outer space by messing with the playback head or delay time controls for as long as you like. Crazy, man, crazy!

According to this posting on Google Books - Greg used an Echoplex on parts of the Candy-O record.

Visible on a chair to the right of Mizutani. Below the Maestro Phaser

Around 1976 he started to use delay on his sound, originally from a Maestro Echoplex, and it remained an integral part of his rig ever since.

A Maestro Echoplex can be seen in the picture attached to this interview.

I was just using my Gibson and my Wabash amp, which I used for a long time. It was one of the first amps to have 15-inch speakers. I also got an Echoplex right when they came out, and combined with those 15-inch speakers, that made “distortion.”

John Martyn is one of the early artists to use the Echoplex as a fundamental part of his sound, and unusually, he used it extensively with acoustic guitar. He combined echo with fuzz, wah, and a phase shifter, creating unique sonic landscapes driven by rhythm. Martyn used EP-1 and EP-2 tube Echoplexes at different times during his career. Listen to "Outside In" or "Solid Air" for notable uses of this effect with Martyn's unique guitar style.

One of Martyn's Echoplex units was sold in an auction in 2024, according to BBC.