Canyon vs. Oceans 11: Compact Delay & Looper Meets Expansive Reverb
As fans of Electro‑Harmonix gear—and compact, high‑value effects pedals—you’ve likely encountered both the Canyon Delay & Looper and Oceans 11 Dual Stereo Reverb. Even though they serve different core functions, there’s some feature overlap (like shimmer and ambient textures), making it a worthwhile comparison: do you need both, one of them, or neither? I have both, and they are pictured below. I like them quite a bit and run them in the loop of my Marshall DSL5c. Let’s dive in.
1. Specs at a Glance
Canyon Delay & Looper (small enclosure)
- Delay time: 5 ms to 3 s
- Looper: up to 62 s
- Modes: 11 types — Echo, Mod, Multi-tap, Reverse, Deluxe Memory Man (DMM), Tape, Reverb+Delay, Octave delay, Shimmer, Sample & Hold, Looper Y
- Controls: Mode knob, Delay time knob, Feedback, FX Level, Tap/Divide button, Tails switch underneath for trails
- Size & Power: ~4.5″×2.75″×2.1″, buffered bypass, 9.6 VDC/200 mA (~150 mA draw)
- GRAB ONE HERE!
Oceans 11 Dual Stereo Reverb
- Reverb engines: Two simultaneous, independent stereo parlays in series or parallel
- Reverb Types: 12 types per engine — Room, Spring, Plate, Reverse, Echo, Trem, Mod, Dyna, Auto‑Infinite, Shimmer, Polyphonic pitch‑shift, Resonant (totaling 24 presets)
- Controls & Features: FX Level (dry/wet), Pre‑delay, Time (decay), Tone; Toggle buttons for Tails, Function (series/parallel and more), external expression or footswitch input, send/return FX loop
- Size & Power: ~4.75″×3.9″×2.5″, buffered bypass, 9.6 VDC/200 mA (~150 mA draw)
- GRAB ONE HERE!
2. Overlap & Complementarity
Shimmer Mode: Both offer a shimmer-like effect. The Canyon’s shimmer is delay-based, while Oceans 11’s is reverb-based—the textures are noticeably different. EHX confirms the shimmer modes merely share a name—they’re distinct in character
Ambient & Overdub Capabilities: The Canyon’s looper and various delays can generate ambient loops, while Oceans 11’s infinite/sustain and dual-engine routing enable richly evolving reverb textures.
Multi-effect vs. Focused Effect: Canyon is more of a multi-tool—delay, looper, modulated delay, etc. Oceans 11 is a deep reverb workstation. If you want both delay and reverb capabilities in a small footprint, Canyon is surprisingly broad; if you want endless reverb options, Oceans 11 excels.
3. Real-World Use & Placement in Signal Chain
Placement:
- Canyon is often placed early in the chain, especially if its delay interacts with drive tones. Some players run it in the amp’s FX loop for cleaner repeats, but the compact format often sees it first in line.
- Oceans 11 tends to live in the effects loop of the amplifier, where reverb tails can bloom naturally after gain/fuzz—though it also works in front-of-amp if you prefer reverb-triggered swell from drive effects.
Community Voices (via Reddit):
“The Canyon gives you a ton and a half of different delay sounds and lots of tweakability. The only downside is option paralysis.”
“I’m very happy with […] the Canyon, but [… the] Oceans 11 […] it’s just too complicated for my tastes; I hardly use half the functions.”
“The Oceans 11 … is a workhorse. … The additional modes added to the Hall and Spring settings was a huge improvement over the single modes available on the Oceans 11…”
So, Canyon can be overwhelming if you don’t lean into it, but offers massive flexibility. Oceans 11, especially over its earlier version (Oceans 11), adds real enhancements—happy users highlight its depth, as it’s more powerful than its predecessor.
4. Are They Overpriced?
Street Prices (Used vs. New):
- Canyon originally listed around USD 139‑155 (as of 2021), still often found for that or less used
- Oceans 11 new runs roughly USD 176 (Sweetwater list). Used units often go for less, making them more justifiable. If you
Perceived Value:
For many, Canyon represents strong value for compact delay/looper power. Oceans 11 can feel expensive, but as a dual-engine, stereo-capable reverb with extensive presets, those who need its depth find it worth the price. Others find the menu-density too much for live simplicity.
5. Should You Get One, Both, or Neither?
| You probably need… | Why |
|---|---|
| Just Canyon | You want a small delay/looper multitool, don’t need deep reverb menus, or already have a basic reverb. |
| Just Oceans 11 | You’re chasing ambient, studio‑grade reverb versatility and stereo textures, don’t care about delay. |
| Both | You want full creative toolkit: delay/looper + immersive reverb without resorting to multi‑effect units. |
| Neither | You prefer simplicity or already have satisfactory dedicated delay and reverb pedals. |
6. YouTube Demos to Showcase the Sound
7. Artist Testimonials
I couldn’t find notable famous artist quotes specifically on these pedals in my sources—but the Premier Guitar review of Oceans 11 emphasizes its “deep, powerful, and adaptive reverb” potential, noting that stacking different reverb voices in serial/parallel creates “swirlingly mysterious” or “house‑of‑mirrors” textures that soloists and ambient players will love.
The absence of artist-by-name endorsements doesn’t diminish their impact—many users are ambient guitarists, experimentalists, and gigging guitarists who appreciate EHX’s sound in both compact formats.
Final Thoughts
The Canyon and Oceans 11 each shine in their domains—with some intersection—but they’re not redundant. Canyon is a creative Swiss Army knife: delay textures, looping, and ambient shimmer in a pedalboard-friendly package. Oceans 11 is a reverb universe: dual-engine stereo depth, presets, expression control, and cinematic FX.
If your board space is tight and you already have a good reverb, Canyon may be the logical pick. If ambient immersion and reverb versatility are your priority, Oceans 11 justifies its price. But for players who enjoy modular adaptability and layered soundscapes, both together offer a potent combination that few other compact pedals can match. The only drawback, as I see it (no pun intended), is that for those with poor eyesight, it might not be your first choice. I sometimes struggle to see the settings clearly, so glasses nearby are a must! Otherwise, a great tool for sculpting your sound.
Let me know if you’d like help optimizing your signal chain placement or presets for live performance!
