Jack White and JHS Pedals have created something genuinely new: an analog delay pedal with transformer-based circuitry that handles both instrument and microphone signals. The Troa Delay isn't just another digital effect — it's a piece of gear designed to bring warmth and character to any signal chain.
A Pedal Born from Personal Need
The concept originated from Jack White's own frustration with traditional tape echo units. He loves the mechanical, organic sound of tape delays but found vintage equipment unreliable on stage — especially regarding hum, hiss, and unpredictable distortion. The Troa Delay was built to capture that beloved analog character without the headaches.
"Having something like this in the studio can be really helpful when you don't want to deal with that."
The pedal has been road-tested extensively on White's tour board and used extensively during his recent album work. According to Scott, it's applied to vocals, guitars, guitar solos, synth sounds, and organ sounds — essentially any signal that benefits from echo and repetition.
Three Faders, One Philosophy
The most distinctive feature is the pedal's three horizontal faders: Repeats (how many echoes exist), Level (mix or blend of wet and dry signals), and Distance (time or speed). This vertical orientation was intentional — designed for foot adjustment during live performance. White explained that moving these controls left to right rather than up and down makes it easier to modify settings while playing.
The design choice reflects careful consideration of how performers actually use effects on stage, particularly when something is droning continuously during a set.
What's Actually Inside
The Troa Delay combines transformer-based circuitry with both microphone and instrument inputs. There's an XLR output on top alongside standard guitar pedal outputs — meaning users can run both simultaneously or independently. The side panel offers 20 to 80 dB of gain controlled by a small knob, functioning as a mic preamp that can be pushed into distortion.
A trails/no trails switch allows performers to keep the echo decaying naturally after turning the effect off — critical for maintaining long, swelling echoes during live shows without abrupt cutoffs.
The transformers provide noise handling and impedance conversion, adding what Scott describes as "a weight" to the sound. This isn't just a delay pedal; it's designed as a full analog signal processor that can function independently as a mic preamp for home studios.
Critics might note that analog-style digital pedals often face diminishing returns — most musicians now rely entirely on software plugins for delay effects, and hardware like this targets a narrow market of gear-focused players. The tactile interface, while intuitive during live performance, may feel unnecessary to those accustomed to programming delays directly into DAWs.
Bottom Line
The Troa Delay represents JHS Pedals' first venture into collaboration with Jack White, and the result is genuinely unique — an analog delay pedal featuring transformer input/outputs, dedicated mic preamp circuitry, and a design philosophy built around tactile live performance. For musicians seeking warmth and character beyond standard digital delays, this delivers. The biggest vulnerability is practical: at roughly 80 milliseconds maximum time (one second total), it won't replace full-time loop stations, but that limitation actually makes it more focused — precisely the kind of creative tool other players can use to shape their art.