Strymon Dig sounds?

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    • #112835
      maxpowersr
      Member

      I haven’t been using my H9 (Max) much for delay so I am not as familiar with what it can do. So having said that,I really like the Strymon Dig demos. I was just checking out the H9 Control app to look at it’s delay capabilities, and on the surface, it looks like it can do some or almost all of what the Dig can do. I know the Dig has some other delay timing algos such as Fibonacci and Golden Ratio. So can the H9 do most of what the Dig can do?

       

      Thanks

    • #140438
      brock
      Participant

      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.

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    • #140445
      maxpowersr
      Member

      Wow! Thank you!

       

      I need to spend more time watching the Dig videos to zero in on what I like, and using your advice, program the H9. Perhaps I can get what I was hearing in those videos.

       

      Thanks again for the detailed response

    • #140485
      h9controller
      Moderator
      Eventide Staff

      Nice post, Brock.

      Just to add a little to it… The Filter Pong Algorithm on the H9 and TimeFactor is a series delay.  Delay A feeds Delay B.

      This is a little known Eventide "Easter Egg", so to speak!  Check it out if you have the chance.

      • #140488
        brock
        Participant
        h9controller wrote:
        … The Filter Pong Algorithm on the H9 and TimeFactor is a series delay.  Delay A feeds Delay B.

        This is a little known Eventide “Easter Egg”, so to speak!  Check it out if you have the chance.

        Thanks for pointing out that omission, Mystery H9Controller-person!  Correct me if I’m wrong here, but it also follows that Diatonic-type feedback routing:  The longer of the Delay A or Delay B times determines the overall feedback delay length for both.

        One cool use of that ‘Easter Egg’ is to double the available delay time.  Sort of like the old DD20 trick, but without the patch cables.  In the preset below, a DELAY MIX of A0+B10 yields an initial 6 second delay.  Switching over to A10+B0 produces a 3 second delay, with the 2nd delay coming at nine seconds out.

         

        This thread had me ‘digging’ into my catalog for some similar presets I had done in the past.  Not strict emulations (I don’t often seek that out), but something that might evoke the same kind of feel.  That is, if the Dig had the extended feature set of the H9 / TimeFactor algorithms.  [There’s some real weirdness going on here with the image resizing.]

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      • #140514
        h9controller
        Moderator
        Eventide Staff
        brock wrote:

        Correct me if I'm wrong here, but it also follows that Diatonic-type feedback routing:  The longer of the Delay A or Delay B times determines the overall feedback delay length for both.

        It's not quite the same as Delay Length and Feedback in Diatonic.  Looking briefly at the code, I believe there is one feedback path that runs out of Delay B and Feeds into Delay A.  So neither delay has a unique feedback path.

        This is also how I'm hearing it so I think that's right.

      • #140527
        Bodde
        Participant
        brock wrote:

        One cool use of that ‘Easter Egg’ is to double the available delay time.  Sort of like the old DD20 trick, but without the patch cables.  In the preset below, a DELAY MIX of A0+B10 yields an initial 6 second delay.  Switching over to A10+B0 produces a 3 second delay, with the 2nd delay coming at nine seconds out.

        I didn’t know longer delay time were possible on the H9. Thanks!I sometimes I feel limited with the 3 seconds delay when I do my Frippish soundcapes. Having 6 seconds of delay is really nice! Although 16 seconds would be better smiley. That’s on my wish for the H9 (but is never going to happen because it is too much CPU I guess).

         

        I have seem some videos of the Dig. Although I like the pedal I haven’t heard anything new on those videos. Wish Strymon would come with a more experimental delay pedal instead of something that can also be achieved with other delays that already on the market.

      • #140490
        maxpowersr
        Member
        h9controller wrote:

        Nice post, Brock.

        Just to add a little to it… The Filter Pong Algorithm on the H9 and TimeFactor is a series delay.  Delay A feeds Delay B.

        This is a little known Eventide “Easter Egg”, so to speak!  Check it out if you have the chance.

        Thank you for that info. I never tried it because I assumed I had to have this hooked up in stereo to use ping pong mode. So if I put it in ping pong mode but only use 1 in and 1 out, it will be a series delay? 

        Brock, while I did not use your exact numbers, I did pick two long delay times that were separated by the golden ratio. I dialed a fair amount of feedback and added some low pass. This is whatI was looking for!

        Thank you both again for taking the time to post.

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      • #140537
        brock
        Participant
        maxpowersr wrote:
        Thank you for that info. I never tried it because I assumed I had to have this hooked up in stereo to use ping pong mode. So if I put it in ping pong mode but only use 1 in and 1 out, it will be a series delay? 

        Brock, while I did not use your exact numbers, I did pick two long delay times that were separated by the golden ratio. I dialed a fair amount of feedback and added some low pass. This is whatI was looking for!

        Thank you both again for taking the time to post.

          I usually run stereo, but I unplugged 1 input & 1 output to confirm.  Still series delays, and mixed to mono internally.  As for the Fibonacci series, I posted those numbers as a reference.  I’ve never been convinced that these ‘magical’ delay times have to be 100% spot-on to create a pleasing effect.  I go with what works.

          But I do like to plug them into different algorithms to take advantage of unique characteristics.  Vintage Delay for modulation, bit reduction & filtering, Digital Delay for delay splicing without pitch shifts, etc.  And Mod Delay when I need to fine-tune and emphasize the modulation with deep, complimentary waveforms:

        h9controller wrote:
        It’s not quite the same as Delay Length and Feedback in Diatonic.  Looking briefly at the code, I believe there is one feedback path that runs out of Delay B and Feeds into Delay A.  So neither delay has a unique feedback path.

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        This is also how I’m hearing it so I think that’s right.

          Now if I’d only pay attention to the Info tab documentation.  My reading & listening comprehension is usually a little better than that.  I like the fact that the feedback routings differ among the algorithms.  It presents a variety of configurations to exploit.  Thanks again for clarifying.

        bodde wrote:
        I didn’t know longer delay time were possible on the H9. Thanks!I sometimes I feel limited with the 3 seconds delay when I do my Frippish soundcapes. Having 6 seconds of delay is really nice! Although 16 seconds would be better smiley. That’s on my wish for the H9 (but is never going to happen because it is too much CPU I guess).

        I have seem some videos of the Dig. Although I like the pedal I haven’t heard anything new on those videos. Wish Strymon would come with a more experimental delay pedal instead of something that can also be achieved with other delays that already on the market.

          I remember reading here how you you prefer delay-style looping over the equivalent in the Looper algorithm.  I understand that.  For me, I like to take advantage of what the Looper does give me to work with.  I’ve adapted my approach to set the overall ‘delay’ time and go into Dub mode with two footswitch taps.  Then MIDI takes over to shift pitch+time, reverse, punch in, etc.  48 seconds is pretty grainy, but I can live with 24 second quality (especially in a live context).  I seldom go through guitar amps anymore, so this is through a full-range stereo system.

          As for the experimental delays, I’m with you there.  But you & I are certainly in the minority in that market-driven scenario.  Anything that was truly ground-breaking would also have to cover down-to-earth presets and ease-of-use.  But I will add that I’d like to see any garden-variety pedal compete with unusual settings like this:

         

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      • #140601
        Bodde
        Participant
        brock wrote:
        I remember reading here how you you prefer delay-style looping over the equivalent in the Looper algorithm.  I understand that.  For me, I like to take advantage of what the Looper does give me to work with.  I’ve adapted my approach to set the overall ‘delay’ time and go into Dub mode with two footswitch taps.

        Yes your memory is correct! I made a long delay topic some time ago. In this topic Eventide stated that longer delay times are were not possible on the H9 in the future. So I was glad to read about the 6 seconds in this topic. Although this is still not enough for me. For longer delay loops I use my Axe fx (max 16 seconds delay in the tape delay algo) or looping software. Sure you can do it with the looper and use dub mix but somehow I prefer to do this stuff with delays instead of the looper. Anyway, thanks again for the 6 seconds!

    • #140598
      maxpowersr
      Member

      I added 12 BIT WASH & MOD to my H9. Very cool!

       

      Thanks!

    • #140730
      brock
      Participant

      This seems like the most appropriate spot for this preset + variation.

      More Golden Ratio delays playing off each other in groups of ‘strummed’ MultiTaps.

      Expression pedal moves toward greater diffusion, more feedback – infinite looping, and increasing-to-decreasing envelope taper .

      Expression Pedal Heel:  FEEDBACK A  15

      Expression Pedal Heel:  FEEDBACK B  20

      Expression Pedal Heel:  SLUR  0

      Expression Pedal Heel:  TAPER  -5

       

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      Expression Pedal Toe:    FEEDBACK A  100

      Expression Pedal Toe:    FEEDBACK B  100 

      Expression Pedal Toe:    SLUR  5

      Expression Pedal Toe:    TAPER  5.

       

      This preset variation starts with longer Golden Ratio delays, no loss of high frequencies, and a decaying taper over the MultiTaps.

      Expression pedal again increases feedback to infinite looping, and descending taper.  No diffusion means more focused repeats.

      Expression Pedal Heel:  FEEDBACK A  15

      Expression Pedal Heel:  FEEDBACK B  20

      Expression Pedal Heel:  TAPER  5

       

      Expression Pedal Toe:    FEEDBACK A  100

      Expression Pedal Toe:    FEEDBACK B  100 

      Expression Pedal Toe:    TAPER  10

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