The digital backlash is officially over. Pink
things, rack gear, and crystal clear repeats
are all cool again, at least according to
the mad geniuses over at Strymon. The
company’s newest invention, the DIG
Digital Dual Delay, was inspired by the
distinctive voicings of ‘80s rack delay units,
reimagining these sounds in an inspiring
and feature-laden stompbox that is sure
to capture the attention of delay nerds
everywhere. It offers three different digital
delay modes; the percussive ADM, the warm
and spacious 12-bit, and the modern, high
definition dynamics of the 24/96 setting.
Typical of Strymon, the DIG is absolutely
lousy with cleverly implemented features
(way too many to discuss here), including
three modulation options, five rhythm
subdivisions, lots of tone shaping control,
and best of all, the ability to use two delays
simultaneously, either in series, parallel, or
ping-pong, in which the two delays mix and
interact across the stereo spectrum. The
DIG is a bold departure from recent trends
in delay pedal design, which have tended
toward using vintage analog sounds as the
gold standard, and should be a refreshing
change for a lot of players that have yet to
explore this unfairly maligned corner of the
effects world.
10
TONE TALK //
5 Delicious Dual Delays
EarthQuaker’s entry into the dual delay
market focuses on old-timey, tape echoinspired tones, with its Delay A section
offering up to 600 milliseconds of delay
with modulation, while Delay B offers up to
300 milliseconds with reverb. Delay, reverb,
and modulation functions can all be used
independently or simultaneously, and the
delays lines can be run in series, parallel,
or series AND parallel through adjustment
of the pedal’s Bleed knob. For parallel,
turn Bleed all the way down. For series,
turn it all the way up. In-between settings
allow for varying degrees of series/parallel
operation, which is the key to conjuring up a
multiplicity of unique, washed out textures
with the Disaster Transport SR. Better yet,
plug an expression pedal into the Bleed
expression jack to morph between settings
on the fly. The repeats of Delay A can also
be controlled by expression pedal, giving
this box some seriously powerful real-time
expressive potential. The only bummer about
the Disaster Transport SR is that it does not
offer stereo outputs, but this pedal’s more
about creating a mysterious, turbid sea of
ambience than it is pristine ping-ponging, so
that likely won’t be a major detraction fo