Presenting the Next Generation (V2) of the Strymon DIG Dual Digital Delay Pedal.
The DIG unearths the true soul of digital delay and doubles it — two simultaneous, integrated delays with captivating rack delay voicings from the 1980s and today, for incredible expressive potential.
Use DIG to effortlessly create your own world of intricate and synchronized echoes, along with hypnotic and atmospheric repeats that blur the line between delay and reverb. Stretch your sonic horizons with five musically satisfying rhythmic subdivisions and three dual delay routing options. Go from syncopated, pulsating delay patterns, to evocative, spaced-out echo trails, all in a compact, pedalboard-friendly format.
The Rack-mount digital delays of the ’80s ushered in a new era of audio effects. The innovative electronic designs generated the cleanest delays that had yet been heard, but also created their own special and intriguing sonic characteristics. Thirty-plus years later, these sounds remain as distinctive and inspiring as ever.
Strymon's thorough investigation of digital delay technology reveals the unique personalities that these delays possess.
Delve into DIG’s three digital delay voicings:
The early ’80s adaptive delta modulation mode.
The mid-’80s 12 bit pulse code modulation mode.
The modern high-resolution 24/96 mode.
Multiply these distinct voicings by two and get DIG — your perfect dual delay ally.
The second generation of the DIG keeps the same distinctive rack-mount digital delay tones from Strymon's original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio. MIDI
Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via DIG’s EXP/MIDI jack or USB-C connection. The Delay time can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.
A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.
This powerful control sets the feedback filter response for tailoring the sound of your echoes. Fast and intuitive to use, it is actually two filters on one control: Turn left for high cut and right for low cut, or set at 12 o’clock for a flat response.
Don’t all digital delays sound the same? What gives a digital delay its own unique personality?
Digital conversion technologies in the late 70s were advancing rapidly, and clever electronics designers were on a quest to squeeze out the best possible performance specs, with fidelity not possible from tape or analog circuits. Their imaginative solutions to the limitations of the conversion process resulted in delays that possessed some unintended, unique characteristics. The DIG V2 accurately and beautifully reveals their individual personalities:
At the heart of DIG are two simultaneous, integrated delay machines.
- ADM – A one bit, high sample rate conversion technique that evolved from telecommunications voice coding. The conversion and supporting signal conditioning, limiting, and pre-emphasis/deemphasis create a percussive wide-band delay that adds more character when input dynamics increase.
- 12 bit – A 12 bit, 32kHz PCM conversion made possible by monolithic IC chips developed in the late ’70s. Pre-emphasis/de-emphasis and companding combine with the converters to produce a warm delay with a dimensional sense.
- 24/96 – A clean, high-resolution, high-bandwidth delay with a hint of dynamics that allow the delay to sit nicely with the analog dry signal. 24 bit resolution and a 96kHz sampling rate ensure uncolored, artifact-free repeats.
Delay 1 is the master delay — Its free-running delay time allows you to easily dial in delays from 20ms to 1.6s with the Time knob or Tap Tempo switch.
Longer delay times lend themselves to more ambient soundscapes while doubling and slapback effects can be achieved at short delay times.
Delay 2 follows as the companion delay. A dedicated subdivision control determines the ratio between the two delays with one of five rhythmic subdivisions: triplet, eighth note, dotted eighth note, dotted quarter note, and the golden ratio.
Don’t want your delays to be synchronized?
DIG’s Free Mode secondary function disables time sync and subdivisions between Delay 1 and Delay 2, giving the Time 2 knob a full delay range from 20ms to 1.6s. This lets you use both of DIG’s delays as truly independent, standalone delay machines.
Series, Parallel, Ping Pong — Set up your two delays in one of three configurations.
Series is like setting up pedals in a chain on your board one after the other, with Delay 2 feeding into Delay 1.
Parallel will orient your delay lines so that they remain independent — Delay 1 in the left channel and Delay 2 in the right channel. If used in mono, both delays are heard at once without feeding into each other.
With Ping Pong, each delay acts as a ping pong delay, interacting together when both Mix knobs are turned up. Use in stereo for captivating back and forth rhythms.
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