To read the full article see: Digital Delay
The two most important effects in a guitarist’s signal chain are distortion and delay. And if you derive your tone strictly from the amp—whether it’s squeaky clean or buzzsaw nasty—then the digital delay is numero uno.
The Deja Vu, by Seymour Duncan, is an example of a delay pedal that includes modulation control, and can therefore be pressed into service providing effects like flanger and chorus, in addition to conventional delay-based effects. (Click images to enlarge.)
Many guitarists think of delay (a.k.a. “DDL,” for “digital delay line”) as the effect that produces an echo sound, and while that’s true, it doesn’t begin to tell the whole story of what a delay is capable of. A full-featured digital delay unit, one with precise controls, complex modulation circuitry, and good display read-outs can produce a range sounds—from flanging to chorus to doubling to ambience to slapback, to discrete repeats that can be synched to tempo-dependent rhythmic values. The Seymour Duncan Deja Vu is one example of a delay unit that includes extensive modulation controls, but other pedals, including the Empress Superdelay and Diamond Memory Lane 2 have them as well.
Many smart guitarists employ more than one delay in their chain, assigning them different duties, even if each has identical parameters. A DDL is one effect that works especially well when chained together with itself. Let’s take a look at the many roles in which a digital delay can serve the guitarist.
Basic DDL Operation
Most people know, or can intuit, the way a delay works: it produces an exact copy (a sample, or digital recording, really) of the original signal in real time, and blends the signals together. The normal parameters are Delay Time (how long in milliseconds after the original sound the copied sound plays), Effect Level (the loudness of the repeated signal relative to the original), and Feedback, which is just another way of saying “number of repeats” (which goes from a single repeat to infinite repeats).
All delays feature two outputs, which allows you to route the original, straight signal to a different place from the effected (repeated) signal. You can get the blended signal from one output (the most common usage) so that you can plug into one input on your amp, as most guitarists do. But you can also send your outputs to two different destinations—to different channels on a stereo amp, to separate mixer channels, or even separate amps entirely to produce a true stereo guitar signal.
With longer delay times, you can create drippy-wet sounds to fill out a slow-note solo in ballad or produce the famous “cascade” sound, which includes Van Halen’s “Cathedral,” Nuno Bettencourt’s “Flight of the Wounded Bumble Bee,” and Albert Lee’s “Country Boy” or his solo on Emmylou Harris’s “Luxury Liner.” With super-long delay times (from a few seconds to several seconds), you can turn your delay into a live multitrack recorder, laying down successive looped passages to jam over. Units such as the DigiTech JamMan, Line 6 DL4, and Boss Loop Station series are loop recorders, and are actually several DDLs in one box that allow for overdubbing loops.
With all these different possibilities at your delay’s disposal, let’s take a look at some sample control settings that will get you on your way to producing the many different types of effects available on a DDL.
Now let’s take a closer look…
Most shorter delay-time effects are “set and forget”; you dial it up according to how it sounds in isolation and don’t have to do anything more for the effect to cooperate with the surrounding music. In other words, one setting can apply to fast or slow tempos, 16th notes, or whole notes. But when the delay time gets past the slapback stage into the 200ms+ range, you have to structure the delay time to the particular tempo and rhythmic values you’re playing. That’s when some math is necessary, but where the real fun begins.