Tone Report Weekly Issue 80 - Page 10

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