Electro-Harmonix’s Pico pedals are designed for players running out of space on their pedalboards. Each occupies just 71/3 square inches while providing features that set them apart.

The digital Pico line includes two delays – the Canyon and the Rerun. Each has a control for Blend, Delay time (eight milliseconds to three seconds), and Feedback (number of repeats). The Canyon offers precise digital delays, while the Rerun simulates tape echo machines. Both have a Tails Bypass function that allows the effect to trail off after the footswitch is clicked, so the effect doesn’t end abruptly.

Plugged in between a solidbody P-90 guitar and a low-watt tube amp, the Canyon and Rerun sounded distinctly different. Overall, the Canyon’s repeats were clear and distinct, as would be expected of a digital delay. However, the Filter knob accentuates low frequencies when turned to the left of straight up, high frequencies to the right. To the left of noon, the Filter accentuates the crispness of each repeated note, to the right it replicates the low-fi sound of vintage “bucket brigade” delays.

The Tap Tempo function works instantly and accurately, allowing for changes in rhythm on the fly. In addition to the basic Tap Tempo, there is a Tap Division function. Once its button is depressed, the selected tempo can be divided in half (LED displays green), three-quarters (orange), or returned to original tempo (red).

In contrast, Rerun emulates low-fidelity tape delays. The Saturation control reproduces the sought-after preamp distortion of tape echo units, while Flutter allows three levels of tape warble, from a hint to full-on seasickness. Like the Canyon, the Rerun offers Tap Tempo, but not with the half or three-quarters options.

Picos are housed in sturdy metal enclosures and ship with a power supply. Others in the line include a limiter/compressor, tape reverse simulator, overdrive/distortion/fuzz, pitch shifter, octave generator, and a sound retainer/sustainer.

This article originally appeared in VG’s March 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.