If you’re after the Series delays sounds in the Dig, you’ll have to do some creative routing (input -> output -> input -> output) in the H9. I wouldn’t recommend that for some of the other H9 algorithms. TimeFactor-type delays are all in Parallel, so you’re always covered in that Dig mode. Ping-Pong … you can use the H9 Filter Pong algorithm without the filter.
For the closest emulations, check out the H9 Vintage Delay algorithm. Dial down the BITS to 12 for that Dig Type, and adjust FILTER. For “adm”, it can take some tweaking. Sometimes I’ll add a sawtooth tremolo in sync with the delays to get closer, or a compressor to squash the delays. For 24/96, you can use almost any of the H9 delay algorithms. Separate Mix / Mix 2 knobs are covered by the DELAY MIX parameter. The Modulation toggle is continuously variable in the H9; using MOD DEPTH and MOD SPEED. For even more control in this particular area, use the Mod Delay algorthm.
There are algorithms where a single FEEDBACK parameter affects both H9 delays, but for the most part, each parallel delay has its own feedback control. TAP is the same in both units. Some DELAY algorithms will ‘pitch-shift’ like the main Time knob in the Dig (some algos crossfade between delay times). There are more subdivisions available in the H9 than the Time 2 knob in the Dig (use TEMPO On to maintain the relationship).
There’s nothing too mysterious about that Fibonacci / Golden Ratio setting. But in the H9 / TimeFactor, you just need to set it up manually. Since the maximum delay time is 3 seconds, there’s only 19 numbers to be concerned with (and far fewer practical ones). TEMPO OFF, and dial in each delay for two consecutive millisecond settings from the chart. Use CTRL+mouse in H9 Control (Windows) to zoom in on exact values.