Oil Can Delay Explained: Ultimate Guide

The oil can delay was Invented by Ray Lubow of Tel-Ray, the California based company that would later come to be known as Morley, and patented in 1959. Shortly after, the Rickenbacker Model A-11 Ek-O-Tone would be one of the earliest oil can echo units introduced to market, and was likely produced by Tel-Ray under license. A few years ago one of these units went up for sale on Reverb, dated to 1963, but otherwise very little is known about them. These are simple three knob, tube powered units, but they appear to have a jack for an external footswitch to activate the effect that seems a little ahead of its time.

Produced as early as 1963 or 1964, these are seen as both the S40 one knob model and S41 three knob model, but it is unclear how much overlap there was between production of these units.

These are most clear predecessors to the ‘Adineko’, featuring that name on the back plate along with the Tel-Ray patent. The early Tel-Ray branded Adineko model 1001 bears a strong resemblance to these.

The Gibson GA-4RE Reverb-Echo appears to be a predecessor to Tel-Ray’s own units, produced by Tel-Ray under license. These are tube driven units that include a full wet/dry control, and their aesthetic perfectly matches the Gibson combo amps of the time.

The Fender Echo-Reverb would be the most notable and obvious rebrand of a Tel-Rey unit, produced under license. These even feature the Adineko name on the back, used by Tel-Ray throughout the 60’s and 70’s. These are tube driven and feature two instrument inputs.

The Fender Dimension IV Sound Expander was a smaller unit produced by Tel-Ray, that included oil can based, vibrato like modulation and a shorter delay with no adjustment. These only include two switches, one to power the unit on and a second to toggle between the two effect types, labed Vibrato and Reverb. I’ve usually seen these in a more narrow housing, but a version with the same footprint as the Echo-Reverb also exists, with the ‘Adineko’ plate on the back, driven by two 12AX7 tubes.

The Variable Delay Echo Reverb was a later oil can delay unit from Fender, also produced by Tel-Rey. This unit features multiple inputs, tone and sustain controls that affect the dry signal and an out for an external footswitch to activate the unit. These would be the most complicated units produced by Tel-Ray at this point, driven by two 12AX7 tubes.

The Tel-Ray Ad-N-Echo, sometimes sold as the ‘Adinkeo’ would be the most well known of all vintage units.

The model 3000A black and teal faceplate is the version pictured on our Ad-N-Echo page. This version includes a variety of controls over delay time and the dry signal, with controls labeled ‘Distort’, Bass Boost, and Bright, it would be unfair to call this simply a delay unit, but more of an early sort of multi-effect.

Housed a similar cabinet to the Model 2001 and 3000A Ad-N-Echo, the Tel-Ray Super Organ Tone features a rather sparse in comparison layout, with only two-knobs labeled ‘Hi-Level Control’ and ‘Organ Tone Level’ along with a two way switch for bass and treble response. It’s unclear if this unit was marketed to organ players, but for electric instruments it appears to produce a short delay and Leslie-like vibrato tone similar to other Tel-Ray produced units.

The EVO 1 Oil-Echo was an oil can delay in the form of treadle controlled foot unit. This would be built by Tel-Ray as their Morley pedal line, before they would eventually become the Morley company of today.

Dropping the Tel Ray name, the Morley 747 Milli-Second Delay Echo Reverb would simplify to a simple four time layout on the front, with the time control being an 8-way rotary knob ranging all the way up to 747 Milli-Seconds.

According a manual released by Morely; “The Morley 747MS Echo Delay incorporates the patented electrostatic memory system owned and used exclusively by Morley. The advantages of this system are many. It is quieter, provides a longer delay and will outperform any competitive unit in its price range: analogue, digital, or magnetic. The design is simple and straightforward. The functions the 747MS performs are those most generally wanted and used by the professional performer. The 747MS may be used with any amplified instrument or microphone with normal range of impedance. Always use good quality shielded cable to minimize interference, noise or hum. The 747MS is AC (Mains) powered for maximum reliability.”

The Morley EDL Electrostatic Delay Line appears to be the final true oil can delay unit, produced up until the late 1970's. It’s unclear whether this unit is the same as the Morley 747 Milli-Second Delay Echo Reverb, but they appear to be incredibly similar apart from the time control on the 747 being an 8-way rotary knob.

In my research many sources have claimed that the liquid in oil can delays can be replaced with Windex, but the most hardcore fans of the Tel-Ray units claim that UCON Lubricant LB-65 is the truest modern day replacement that won’t cause any bodily harm. Just know before you repair, or try to repair one that the original liquid is toxic, and this work is best done by a professional.

One of the most popular and well regarded Oil Can pedals is the Old Blood Noise Endeavors Black Fountain, introduced in 2014. According to Old Blood Noise Endeavors; "The Modern mode emulates the classic long delay "oil can" units such as the Morley EDL, Tel-Ray Model 10 and Fender Echo-Reverb." This pedal exists in several variations, with the Black Fountain V2 adding an expression pedal input and a soft click footswitch. V3 adds additional circuit revisions, a tap tempo footswitch, and additional toggle for rhythmic subdivisions.

The new for 2025 Old Blood Noise Endeavors Black Fountain Stereo is the ultimate evolution of the Black Fountain, with full midi functionality, expression control over every knob, savable presets, and a new control over the amount of drive in the repeats, labeled ‘grit’. In my opinion the Black Fountain Stereo is the ultimate combination of modern reliability with infinite tweakability.

The Greer Black Tiger is a pedal I only recently discovered and have never had the chance to play, but I am a big fan of Nick Greer’s products and design philosophy. Like every pedal here it uses a digital delay section to produce the repeats, with simple controls for feedback, mix, and time, along with a second footswitch to toggle between true bypass and trail operation.

Another multi-mode delay pedal, the Nemesis features a well regarded emulation of an oil can delay among other classic sounds. This same model is featured in the Collider delay/reverb, but does not appear to be a preset on the original Nemesis.

Borrowing its color scheme from the Ad-N-Echo, TC Electronic’s Alter Ego is a multi-mode digital delay that comes loaded with an emulation of the vintage Tel-Ray unit it resembles. The Alter Ego has gone through two main iterations, including the V2, in its standard form, along with the large format X4 version.

Adds an octave section to the Adineko’s delay path.

Proudly wearing its influences on its sleeve, the Catalinbread Adineko is a digital emulation of the Tel-Ray Ad-N-Echo oil can delay, in compact pedal form. Despite wearing the name Adineko and emulating it down to the control layout, Catalinbread’s take can also achieve vibrato and modulation sounds similar to the Tel-Ray Deluxe Organ Tone and Fender Dimension IV.

Finally we arrive at the JHS 3 Series Oil Can Delay, described by JHS as a digital pedal emulation of classic oil can echo units produced by Tel-Ray. Originally produced as a limited run for Reverb.com, in its ‘Blackout’ finish, the 3 Series Oil Can Delay was developed with guitarist Nels Cline of Wilco in mind, after complaining about the maintenance of original units to JHS’ own Josh Scott. Now a standard production pedal, the 3 Series is a great option for $99, and even features a ‘secret’ mode that appears to emulate two oil can drums, for double repeats.