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DIG unearths the true soul of digital delay and doubles it—two simultaneous, integrated delays with the captivating rack delay voicings from the 1980s and today, for incredible expressive potential.
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.
Rack-mount digital delays of the ’80s ushered in a new era of audio effects. The innovative electronic designs generated the cleanest delays yet to be heard, but also created their own special and intriguing sonic characteristics. Thirty-plus years later, these sounds remain as distinctive and inspiring as ever.
Our 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, and the modern high-resolution 24/96 mode.
Multiply these distinct voicings by two and get DIG—your perfect dual delay ally.
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.
Set 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 synchronization? Engage Free Mode to disable subdivisions and allow Delay 2 to be its own independent, free-running delay. Dial in short delay times for chorus/flange sounds to run alongside Delay 1.
Press (+) for more info.
Set up your two delays in one of three configurations.
Series is like setting up pedals in a chain on your board, feeding Delay 2 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.
With Ping Pong, each delay acts as a ping pong delay, interacting together when both Mix knobs are turned up.
Sound designer Pete Celi gives you an in-depth look at DIG.
Don’t all digital delays sound the same? What gives a digital delay its own unique personality? Digital conversion technologies in the late 70s was 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 achieved pristine delays that posess some unintended, unique characteristics as they sought to overcome the limitations of the conversion processes. Our careful study of digital delay technology reveals their individual personalities.
Read our Digital Delay White Paper to learn more about the research and development behind DIG.
All Strymon pedals are Designed and Built in the USA.
Holding down the TAP footswitch enables Circular Repeats, where both delay lines maintain a static volume and repeat continuously until the TAP footswitch is disengaged. At this point, all previous settings will be restored.
Each of our Strymon digital effect pedals (excludes OB.1) have the ability to be used with mono or stereo connections. Here are 3 different connection setups you can use with these pedals.
Mono Input => Mono Output
For Compadre, Riverside, and Sunset: Connect a standard mono TS instrument cable into the INPUT and connect a mono TS instrument cable to the OUTPUT of the pedal.
For blueSky and Ola: Connect a mono TS instrument cable into the LEFT INPUT and LEFT OUTPUT for a mono connection.
For BigSky, Mobius, NightSky, TimeLine, and Volante: Connect a mono TS instrument cable into the LEFT INPUT and LEFT OUTPUT for a mono connection. On the TimeLine and Mobius ONLY, make sure that the switch on the back of the pedal is set to STEREO IN/OUT.
For all other Strymon two footswitch Strymon pedals, connect a standard mono TS instrument cable into the INPUT and connect a mono TS instrument cable to the LEFT OUTPUT of the pedal.
Mono Input => Stereo Output
For Mono INPUT and Stereo OUTPUT on our small 2 footswitch pedals: Connect a standard mono TS instrument cable into the INPUT and connect a mono TS instrument cable to both the LEFT and RIGHT OUTPUTS of the pedal. (excludes Compadre, Riverside, and Sunset)
For blueSky and Ola: Connect a mono TS instrument cable into the LEFT INPUT and a mono TS instrument cable to both the LEFT and RIGHT OUTPUTS for stereo output.
For BigSky, Mobius, NightSky, TimeLine, and Volante: Connect a mono TS instrument cable into the LEFT INPUT and both LEFT and RIGHT OUTPUTS for stereo output. On the TimeLine and Mobius ONLY, make sure that the switch on the back of the pedal is set to STEREO IN/OUT.
Stereo Input => Stereo Output
For Stereo input and Stereo output on our small 2 footswitch pedals (except blueSky and Ola), you must first open up the pedal to move the internal jumper over the LEFT 2 pins to set the pedal for TRS Stereo input.
Once the pedal is set for TRS Stereo input, make sure to use a TRS Stereo cable into the INPUT and connect a mono TS instrument cable to both the LEFT and RIGHT OUTPUTS of the pedal.
For blueSky and Ola: Connect a mono TS instrument cable into the LEFT and RIGHT INPUTS along with both LEFT and RIGHT OUTPUTS for stereo input and output. The internal jumper on these pedals does not need to be adjusted to work in stereo and should be left in its default position (connecting the left 2 pins when viewed from below).
For BigSky, Mobius, NightSky, TimeLine, and Volante: Connect a mono TS instrument cable into the LEFT and RIGHT INPUTS along with both LEFT and RIGHT OUTPUTS for stereo input and output. On the TimeLine and Mobius ONLY, make sure that the switch on the back of the pedal is set to STEREO IN/OUT.
DIG will work with an external Tap switch that utilizes a TRS stereo cable connection. Check out our TAP Favorite switch.
Yes. Once you adjust the secondary function settings on your Strymon pedal they will not change after powering down your pedal until you manually change them again.
Set Pedal to Expression Pedal Mode
1. Set the toggle switches on your pedal to the UP position
2. While holding down both foot switches, power on the pedal while continuing to hold down the foot switches for about 2-3 seconds. This will put you in expression pedal mode.
Assign a Parameter to Expression Pedal
Once you have your pedal set to expression pedal mode you still need to assign the parameter you’d like to your expression pedal.
1. Power on the Strymon pedal while holding down the left foot switch
2. While continuing to hold down the foot switch, turn whichever knob you want to assign to the expression pedal. The first knob you turn will be the knob assigned.
We have tested the Moog EP-2/EP-3, Roland EV-5, Mission Engineering EP-1 and EP-25K, and they will all work with our pedals to varying degrees. (There may be others but we haven’t tested them yet.)
We recommend using expression pedals that have a minimum 25k ohm or higher potentiometer such as as the Moog EP-3 or Mission Engineering EP-25k.
The secondary function for the MIX 2 knob sets the Dual Delay configuration. Press and hold both TAP and BYPASS footswitches while turning the MIX 2 knob to adjust. Turn left for Series, center for Ping Pong, or right for Parallel configuration.
Series
In Series configuration, Delay 2 feeds Delay 1. This is equivalent to putting two single delay pedals in succession on your pedal board. A mono input feeds both left and right channels.
Ping Pong
In Ping Pong Mode, the delays are configured in a series ‘ping-pong’ configuration. When using a mono output signal, this configuration is the same as the Series configuration. In stereo, each delay acts as a ping-pong delay, and they interact when both Mix knobs are turned up.
Parallel
In Parallel configuration, the delays do not interact with each other, but produce their outputs ‘side-by-side’. In Stereo, Delay 1 outputs to the left channel, and Delay 2 outputs to the right channel. When the right output is not used, the wet signal sums to mono so that both parallel delays are heard from the left output.
DIG features two true-stereo delays that allow for many creative, rhythmic and ambient delay effects. Delay 2 is a synchronous subdivision of Delay 1 by default out of the box and can be set to run ‘free’ if desired. They can be combined in three different configurations:
DIG can be set up to mute the dry signal, useful for Parallel effects loops.
Press and hold both of the footswitches while plugging in the power to the pedal. While holding the switches down, turn the TIME knob to the RIGHT position to kill the dry signal. This will mute the dry signal, allowing the MIX and MIX 2 controls to be used as effect levels.
To turn off Kill Dry, press and hold both of the footswitches while plugging in the power to the pedal. While holding the switches down, turn the TIME knob to the LEFT position.
You can set the input for DIG for either mono input or TRS stereo input. The pedal ships in mono configuration from the factory. Here’s how to adjust this configuration.
Remove the back cover of your pedal.
On the left side of the circuit board, you’ll see a jumper that can be set in two positions. Place the jumper on the left 2 pins for TRS stereo input. Place the jumper on the right 2 pins for mono input (factory setting).
In order to use the TRS stereo input, you’ll need a TRS stereo input adapter like the one shown below. You can purchase one here.
DIG has unique digital voicings for 24/96, ADM, and 12 bit delays with the ability to set the output configuration to ping pong between the left and right outputs when used in stereo. It also has the Golden Ratio tap division which is not available on the TimeLine and provides delays that will never step on the repeats for getting a great ambient sound with long trails.
On TimeLine there are more options for the different ratios of the second delay, modulation, and filter controls for the Dual delay machine.
To set the EXP input to TAP switch mode:
To set the EXP input to Favorite switch mode:
Unplug the power to your pedal. Plug in the power while holding down BYPASS. When the pedal powers on, let go of BYPASS. Repeat this process to go back into non-Trails mode.
All Strymon pedals sold within North America (except OB.1) include a 9VDC 660mA power supply. OB.1 includes a 9V battery.
We recommend a power supply that provides 9VDC (center negative) at a minimum of 250mA.
Do not subject your Strymon pedal to any voltage above 9V. Doing so will damage your pedal and void your warranty.
We don’t recommend using daisy chain power supplies. Ground loops are commonly caused when using a daisy chain power cable to power multiple pedals. This creates a ground loop between every pedal in the daisy chain. Ground loops allow stray magnetic fields to introduce hum into your signal path.
If the only type of effect you use is distortion you may not have (or hear) the ill effects. But, if you have modulation and delay pedals the likelihood of ground loops wreaking havoc on your signal is high.
The default Delay 1 time range on DIG is 20ms to 1.6 seconds.
The range can change depending on what setting you’re using for the Delay 1 Subdivision secondary function:
Also, when using Free Mode, the delay time range for Delay 2 is 20ms to 1.6 seconds.
DIG, El Capistan, and Brigadier pedals all provide delay effects, each with their own tonal characteristics and feature sets.
DIG features two simultaneous digital delays with different voicings from the 1980s and today that can be set to series, parallel, and ping pong configurations.
Brigadier is an authentic recreation of analog bucket-brigade style delays with a selectable dBucket ‘chip’ to choose from short, medium, and long delays of 40ms – 5 seconds.
El Capistan is an in-depth recreation of tape echo machines with variable tape head modes, a 20 second sound-on-sound looper, and an adjustable spring reverb.
Three very different styles of delay. Your choice really all depends on the sound you’re going for. Check out the sound samples on the DIG, El Capistan, and Brigadier product pages.
All of the inputs and outputs on our pedals use MONO TS unbalanced connections. You can use a TRS cable to plug into the inputs and outputs of the pedals, however, there is no benefit to using TRS balanced cable over a MONO TS instrument cable.
The TYPE switch on the DIG selects between 3 different A/D and D/A conversion modes used in the digital delay. Each conversion mode provides the delay effect with a different sonic characteristic:
Yes, they feature high-impedance inputs and accept up to +8dBu, instrument or line level.
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Refurbished items include a 12-Month warranty unless otherwise stated.
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