Strymon DIG

Rack To The Future

Rack-mount digital delays of the 80s ushered in a new era of audio effects, where the innovative electronic designs generated clean delays that sounded altogether fresh and new, but with special and intriguing sonic characteristics.

Decades later, these sounds remain as distinctive and inspiring as ever.

Delay Doppelgänger

The DIG plugin unearths the true soul of digital delay and doubles it — two simultaneous, integrated delays with captivating rack delay voicings from the 1980s and today.

Instantly create intricate synchronized echo patterns, as well as hypnotic and atmospheric repeats that blur the line between delay and reverb.

Each of DIG’s three digital delay voicings has its own distinctively inspiring personality: the early 80s adaptive delta modulation mode, the mid-80s 12-bit pulse code modulation mode, and the modern high-resolution 24/96 mode.

Voices Of Digital

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 previously available from tape or analog circuits. Their imaginative solutions to the limitations of the conversion process resulted in delays that possessed some unintended and unique characteristics. DIG beautifully reveals their individual personalities.

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 as 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.

Two Delays

Two-For-One Special.

At the heart of DIG are two simultaneous and integrated delay machines. Delay 1 is the leader 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, or sync to your project tempo with selectable time division. 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 button disables time sync and subdivisions between Delay 1 and Delay 2, giving the Time 2 knob a full delay range from 7ms to 2.4s. This lets you use both of DIG’s delays as truly independent, standalone delay machines.

Routing Options

Go Your Own Way.

Series, Ping Pong, Parallel — Set up your two delays in one of three configurations.

Series feeds Delay 2 into Delay 1. With Ping Pong, each delay acts as a ping pong delay, interacting together when both Level knobs are turned up for captivating stereo back and forth rhythms. Parallel will orient your delay lines so that they remain independent — Delay 1 in the left channel and Delay 2 in the right channel.

Tone

Tune Your Tone.

The Tone control adjusts the feedback filter response. Turn Tone to the left to reduce high frequencies for dark, washed out repeats, set it to noon for a neutral and flat response, or go past noon for increasingly sparkly, shiny delays with reduced low frequencies.

Modulation

Add Some Movement.

Want to add extra character to your repeats? Turn up the Modulation knob for anything from subtle movement to deep, lush and thick modulation. Or turn the knob fully counterclockwise for completely unmodulated echoes.