In theory someone could create a device to do this, but no one has.

What you’re supposed to plug in there is a dedicated external tap tempo switch. EHX doesn’t make one. (What’s up with that EHX?) Saturn Works makes a small, reliable, popular one. Many other companies, including some EHX competitors like MXR, etc, make one. These are very simple circuits that just “ground” the switch every time you tap it. There is no control voltage (CV), trigger signal, or Expression value.

The 8-Step Program can generate control voltages (CV) from 0V to +5V and Expression Pedal (Exp) values which require a TRS (Stereo) 1/4″ cable and input jack. This is not what you need.

The EHX Clockworks generates trigger pulses from 0V to +10V, again not what you need.

Honestly, what’s wrong with just turning playing your song on the DAW and tapping the right tempo into the Canyon? You should be able to get very close.

Yes. But, be careful. You want to use something like the Switchblade which only allows A/B (A or , rather than the Switchblade Plus which also allows A+B. You do not want to have the speaker output from both amps going to the Y output at the same time. The plain old Switchblade will prevent this problem.

You can certainly put it anywhere in the chain that you like. You’re not going to break anything. After all a Leslie simulator is just a very fancy combination of

Tube amp emulation to emulate the power amp of the Leslie.
Synchronzied flanging and tremolo to emulate the spinning rotor.
Filters to emulate the combination of woofer and horn.

But, think about the sonic image you’re attempting to project and what the pedal is supposed to do. Imagine that you were using a real Leslie speaker/amp. Would that go at the beginning of your effects chain or at the end? At the end of course because everything would have to plug into it.

What if you want to use the stereo output to actually make the sound physically swirl around the room. You can’t do that by putting it at the front of your effects chain unless every single effect after it is also stereo. If you want to do real stereo, you’re pretty much going to have to put it at the end of your effects chain, right before the board or your two amps.

Speaking of going into a board, either a live mixer or a recording system, the Lester is an amp & cabinet simulator in the very best sense of the word. It’s a cabinet sim on steroids. Normally cabinet sims are the last thing in the chain right before the DI box, the DAW, whatever. They are intended to make the signal sound like you’re micing an amp and/or cabinet, rather than going directly into the mixer which sounds terrible. In general any amp/cabinet simulators would go at the end of a chain. Obviously things like Radial and “Two Notes” active DIs with amp/cab simulation HAVE to go at the end. Tech 21 and other SansAmp like DIs also have to go at the end of the chain. The EHX Battalion and Bass Metaphors are designed to go at the end of the signal chain. The EHX Tortion is designed to go at the end of the chain if you use it as a DI. All of these are amp/cab simulators. The Lester G is the most complex amp/cab simulator of them all.

As far as the issue with having a compressor, there are some options. You could just not use it. In fact, lots of guitar players get the Lester K because they already have a compressor and they don’t need the one in the G. Or, you can play with it to get the compression level correct. A compressor, in contrast to a limiter, does TWO things. It both LIMITS the signal and BOOSTS the signal. It squashes sounds that are too loud and boosts sounds that are too soft. If you are producing much more volume than the amount of noise in the signal, then when you squash it down it will squash the noise even lower. A compressor used in the right way can actually reduce the noise in your signal. By using the right amount of sustain, attack, and “squish” setting, you should be able to dial in a reasonably quiet signal, certainly while you’re playing. The key is to avoid the temptation of using too much sustain.

Of course, your mileage may vary. The only way to really figure out what works for you is to try it. Again, you won’t break anything.

You are the music-maker,
And you are the dreamer of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams…

My experience has been that in every case where EHX is either reissuing one of their classic pedals, or they are “kloning” someone else’s classic pedal, they go beyond just cloning and actually make improvements to the original circuit while retaining the best qualities of the original circuit.

First, with all of their reissues, they are putting them in the more durable and pedalboard friendly diecast enclosures. In many instances where the original issue didn’t have a 9V adapter port, the new one does. Where the old circuit was noisy, the new circuit is quiet. Where the old one might have had unity gain issues, the new one is corrected.

With the Op-Amp Big Muff, it sounds like they kept the mojo of the original Op-Amp Big Muff, but they added the ability to bypass the tone circuit.

With the Soul Food, which is a Klon Klone, they make the buffered bypass internally switchable. This is a great improvement over the original because many people don’t need an always on buffer in their modern pedalboard configurations.

With the Glove OD, which is a Fulltone OCD clone, they make it 9V/18V internally switchable. The Fulltone switched to 18V when it’s plugged into an 18V adapter. With the EHX, you can run it at 18V internally on a 9V adapter. That’s much more convenient for most people that are using 9V 1SPOT daisy chain adapters.

With the Satisfaction, which is a Gibson Tonebender clone, there are many improvements over the original design but they nail the tone.

In every single case that I can think of EHX goes beyond just doing a reissue or a clone and thinks carefully about what they can add to the circuit to make it better…THEN they sell it for a GREAT price. I really feel like EHX pedals are the best VALUE in every category right now. They may not be the absolute best pedal in any of those categories, but they are always the best VALUE, and in many cases they ARE the best – even compared to very expensive boutique pedals. In some cases EHX has designed their own very unique signature sound pedals that no one else offers, and you don’t have to pay boutique pedal prices for them.

The Oceans 11 is essentially a Canyon delay with delay algorithms swapped out for reverb algorithms. Neither one has what is normally referred to as “true bypass.” Both of them have what is usually referred to as “digital bypass.” The circuit stays engaged the entire time to sense the footswitch. Any pedal with a “soft” switch, which is a button really, as opposed to one that clicks, is almost always a digital bypass rather than a “true” bypass that just connects the input directly to the output.

The internal Tails switch works the same way on both pedals. With tails on, the tails (echos, trails, tails) will continue and trail off naturally when you step on the switch to bypass the effect. Whith tails off, the tails (echos, trails) cut off immediately.

I can’t compare it to the Cock Fight other than Youtube vidz I’ve seen, but I’m very happy with the sound and feel of the Cock Fight Plus. It has replaced a vintage Thomas Organ Crybaby Stereo Fuzz Wah becayse the Crybaby was too heavy and I had to rig something to power it with a 9V adapter. The Cock Fight Plus is a great pedal.

The expression pedal controls the sweep, not the rate. It is exactly like setting it to MANUAL/EXP and turning the RANGE knob with your hand.

Without the expression pedal, the MANUAL/EXP gives you a cocked wah on the WAH setting, a notched filter on the PHASE setting, a “harmonic” filter on the TREM setting, and pretty much nothing on the VIBR setting because of the way the vibrato works.

With the expression pedal, the MANUAL/EXP gives you a wah pedal on the WAH setting, a foot-controlled phase on the PHASE setting, a foot-controlled harmonic filter on the TREM setting, and a strange, extremely subtle detune on the VIBR setting.

The wah on the worm has a very wide range and a fairly narrow Q to my ear.

This means there are at least ten ways to get a wah with EHX pedals, and they’re almost all a bit different.

1. Wailer Wah – Crying tone with rack.
2. Crying Tone Wah – No moving parts.
3. Crying Bass Wah – Crying Tone tuned for bass.
4. Cock Fight Plus – Cock Fight built into a pedal.
5. Cock Fight with Expression Pedal – Includes classic fuzz.
6. Blurst with Expression Pedal
7. Enigma with Expression Pedal – Riddle tuned for bass.
8. Riddle with Expression Pedal
9. Talking Machine with Expression Pedal – Wah and Bass Balls mode.
10. Worm with Expression Pedal