Boss DD-7 Digital Delay Guitar Effects Pedal

If you are looking for a great delay pedal, you just found it. Packed with features the Boss DD-7 comes packed with some of the richest delay tones you’ll ever come across with features such Modulation and Analog Delay modes. The Modulation Delay provides chorus-flavored sounds while the Analog Delay offers a modeled simulation of the classic BOSS DM-2, beloved for its characteristic warmth.

Building on the prestige of BOSS’s rich history – the DD-7 comes equipped with up to a massive 6.4 seconds of delay time with the bonus option of being able to record up to 40 seconds of input when using the “hold” mode meaning you can record yourself and play over it “loop style” – absolutely brilliant for creating sound on sound performances.

Using the DD-7 you can create some truly amazing effects – looking for sweeping sterio panned echo? Use the stereo output and generate spatial audio sweeps. You can also use the stereo outputs to create separate dry and wet signal paths handy for recording and live-performance control.

With a stompbox this packed with features you might wonder if it’ll be suitable for live performance well the good news is – absolutely. The DD-7 provides hands-free control via an external footswitch and an expression pedal if so desired(sold separately). Tap tempo can be controlled from an external footswitch, while the best is saved for last with delay time, feedback, and effect level being changeable on the fly via Expression pedal.

With the best-selling delays in compact-pedal history, BOSS continues to push the envelope and innovate. The DD-7 takes the best features from its predecessors and expands the creative potential to create a stunningly effective delay pedal that will have you creating killer sounds in no time at all.

Check out the video

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Boss DD-7 Digital Delay Guitar Effects Pedal Specifications:
• Controls: E.LEVEL, F.BACK, D.TIME, MODE, Pedal switch
• Indicator: CHECK (Used for indication of TEMPO, HOLD, and to check battery)
• Connectors: INPUT-A (MONO) jack, INPUT-B jack, OUTPUT-A (MONO) jack, OUTPUT-B jack, TEMPO/EXP jack, AC adaptor jack (DC 9 V)
• Delay Time: 1 ms to 6400 ms*, Maximum recording time: 40 sec (in Hold mode) *Values may vary according to the mode and connections.
• Nominal Input Level: -20 dBu
• Input Impedance: 1 M ohm
• Nominal Output Level: -20 dBu
• Output Impedance: 1 k ohm
• Recommended Load Impedance: 10 ohms or greater
• Power Supply: DC 9 V, Dry battery, 9 V type (6F22/carbon, 6LR61/alkaline) AC Adaptor (PSA-series: optional), DC 9 V: Dry battery 6F22 (9 V) type (carbon)/ Dry battery 6LR61 (9 V) type (alkaline), AC Adaptor (PSA-series: optional)
• Current Draw: 55 mA (DC 9 V)
• * Expected battery life under continuous use: Carbon: 1.5 hours, Alkaline: 6 hours. These figures will vary depending on the actual conditions of use.
• Accessories: Owner’s Manual, Mode Sticker, Application Sticker, Leaflets (“USING THE UNIT SAFELY,” “IMPORTANT NOTES,” and “Information”), Dry battery (9 V type, 6LR61) *1
• Options: AC adaptor (PSA-series), Footswitch: FS-5U, Expression pedal: Roland EV-5

Line 6 Verbzilla

The Verbzilla from Line 6 features 11 reverb models in a single stomp box.

The verbzilla, powered by either a 9 Volt Battery or DC Power supply, features Mix, Decay, Time, Tone controls to allow the user to customize the available tones.

Line 6 Verbzilla list of controls

Mix – Allows you to control the amount of reverb in your signal from dry to 100% wet.

Decay – Controls how quickly the reverb tail fades to silence.

Time – Controls the length of pre-delay. This is the amount of delay before the signal hits the reverb chamber.

Tone – Allows you to adjust the tonal character of the reverb, giving you the flexibility to go from dark and subtle to bright and splashy.

Trails Switch – When switched on, Verbzilla’s processing is engaged while in bypass, so reverb smoothly trails away when you kick the effect off.

The unit also features a model switch to allow the user to select the type of reverb to be used these include spring reverb, Hall, Chamber. The unit also comes with a tone called Octo that provides harmonized decay similar to the “shimmer” effect employed by U2’s The Edge.

So if you wanna get that U2 harmonic shimmer sound the Verbzilla is a must (check out this youtube vid if you need convincing!  http://www.youtube.com/watch?v=kJwhmLASs0E

Great Deals on Verbzilla

Check out these great stores for Verbzilla deals!

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Line 6 ToneCore Verbzilla Guitar Effects Pedal

Still need convincing?

Check out this youtube video which features a familiar U2 track and the trusty Verbzilla applying the shimmer

U2′s The Edge Shimmer Effects

U2′s Guitarist “The Edge” is often well known for using a seemingly vast array of guitar effects. In particular his sound is often enhanced through the use of delay or echo. Another common sound that he uses is known as the Shimmer effect.

The Shimmer effect is reminiscent of an orchestra or strings and can be heard in songs such as “With or Without You”, “4th of July”. U2 often use the effect live and it can be heard during the opening introduction to the song “City of Blinding Lights”.

The sound originally developed during the recording of The Unforgettable Fire album and was created by The Edge and the albums producer (Brian Eno).

The effect was created by splitting the signal at the beginning so that you still hear the normal guitar sound, the other part of the signal is then heavily treated (in the studio via an AMS 1580S) with a harmonizer/delay then a heavy reverb.

The Harmonizer/Delay works by treating each note by harmonizing the delay an octave higher than the original note, the next delay is two octaves higher, next is three, etc. It then gets a heavy dose of plate reverb. This sound appears to constantly shift which creates the “swell”-like effect.

There are only a handful of units that can produce this sound. The AMS unit is one, U2 are also known to use the Eventide Eclipse. The new Line 6 Verbzilla also produces a similar effect by using the “Octo” reverb.

What does tell us? Well, with a bit of imagination, experimentation and some technical know-how you can create some really interesting sonic landscapes with the guitar which can alter the dynamic of your music and make your band sound bigger than it actually is!.

Article Links

For more information on U2′s the Edge check out Close to U2′s the Edge Blog

U2.com

Line 6

Korg A3

korga3

The Korg A3, now out of production, was originally released during the 1980’ and is fondly remembered as one of the best of the early rack mount effects units. Korg marketed the A3 an all in one multi Digital multi effects unit. The unit had 19 built in effects groups including 41 different types of effects to choose from and came with 20 built in effects chains. The chains and individual parameter settings of each effect could be edited and stored in one of 100 program slots on the RAM memory.

Effects available included reverb, compressor, distortion, delay, stereo delay, modulation delay, phaser, pitch shift and EQ. The A3 included Korg’s Digital Signal Processor which aimed to eliminate signal degradation. The A3 also utilized 4 times over sampling techniques to preserve the tones and provide a high quality output. The A3 allowed upto 6 effects at once which could be set up in a chain – the chain could then have his it’s own master volume, noise gate etc.


From Musiciansfriend.com – Line 6 M13 Stompbox Modeler

Line 6 M13 Stompbox Modeler Guitar Multi Effects Pedal

For great effects try Line 6′s Killer multi effect stompbox modeler



Users were able to upgrade the A3 through adding expansion cards which upped the number of presets and effects available. There was also an optional foot controller (the FC6) which enabled the user to control the unit via stomp boxes, especially useful during live situations.

The A3 did have some problems associated with it’s design – the soldering on the circuit mounted input/output jacks could be temperamental and loosen or break from time to time – necessitating minor repair work – backlights for the screen could also fail over time. Given the A3’s age the expansion cards can also be hard to come by (check out the usual auction sites) – these really are a must if you want to get the full A3 experience.

The A3 was widely used within the music industry (not just as a guitar unit!) and presets can often be heard if you listen close enough – one of the A3’s famous users was U2’s The Edge – take a listen to Mysterious Ways from the Achtung Baby cd and you can hear the Korg A3 in all it’s glory.

Where the A3 sits against today’s units is debatable – the POD XT series for example has such a range of effects and modeling capabilities that the A3 isn’t really able to compete – however what the A3 can offer is a range of impressive tones that would grace any guitarists sound.

As we said the A3 is now out of production – units crop up on auction sites from time to time for fairly reasonable prices – a quick search on google should be able to source the files needed to replicate the expansion cards – throw in a foot switch and you’ll have a great vintage unit capable of a broad range of tonal options.