2014 seems so distant now. I want that glitchy song at the end to be an anthem to when I used to care a lot about music, guitar pedals and funny noises. Simpler times.
3:05! I've listened to this glitchy riff song over a hundred times and I still have yet to get enough--I want the extended version and a remix album! Thanks for bringing many smiles over many days....
I don't think I've ever commented on a RU-vid video before but that glitch thing with the Hold switch is one of the coolest things I've ever seen in my life.
The "warmth" factor of the DD-2 and DD-3 make them the most unique delay pedals along with their versatility. While their enclosures are white, they'll always be the gold standard for my playing! The DM-2 is a close second but still a pretty good separation as far as the flexibilities of the DD-2 and 3. You can have all the "boutique" pedals you desire but give me a DD-2 and or 3 and I'll make magic happen!
Great to know someone else is doing crazy stuff with this pedal too. I particularly love to use those metallic overtones. You have to fine tune it, though, to make it work well. But you knew that.
They need to make a Waza version of this one: more delay time, modulation, trails, exp pedal input... All with the same variable sample rate principle used in the DD-3. Something like a poor man's Lexicon PCM 42... A Waza DD-3 :)
I bought a Boss DD1 to replace my Watkins Copicat Mk-IV back in 1985. Okay okay, I wasn't one of THOSE guys. I kept the Copicat. Although there was so much old gear to be had for cheap in the early days of digital. See that word "vintage" didn't come into vogue, and never leave, until the 90's. By then ten year old digital gear was called vintage. In 85' when living in Hollywood, 'going to the GIT' I would hit up the guitar stores for old gear. I paid $15 for a working Maestro Phase Shifter. One day I paid the sales guy $75 and he gave me 3 amp chassis- A brown face Fender Bassman, a black face Fender Bassman (1964), and a black face Fender Twin Reverb. All of the transformer were good and the repairs were minimal. That's how I learned to service amps. I bought a compete set (I think 4) of 1950 US Army Electronics course. Between that and my 1936 RCA Tube Manual, a VOM, a white noise generator I made, a bunch of alligator clip wires, and a ton of parts I amassed from Hollywood's electronics junk stores...well I learned how to service and modify guitar amps. The PIV MASTER VOLUMES are the #1 amp mod. No high powered Marshall, Ampeg, Orange, Hi-Watt, Sound City, Laney, or similar (Not Fender, Gibson, they se a diffrent type MV) should be without. A Master Volume allows you to distort your preamp! Not just for 'bedroom levels', but all levels, even loud. Understand? Even your brand new reissue Plexi Marshall needs a PIIV MASTER VOLUME...Only 1 dual potentiometer, 2 capacitors, and you just lift two junction, that's it! Put the knob on the back of the amp... Will it detract from the value of the aamp? NO, because they were a Commons upgrade of the era the amps were sold. A MASTER VOLUME 's knob can be installed in an existing hole, like one of the INPUTS on te front of the amp, on the back in place of the AUX SPKR jack. 😊 READ THIS EXCERPT from 'The Gear Page: "Trainwreck Modd?? Or Other Master Volume Mods?) Oct 3, 2004 #9 8nthatK 8nthatK Supporting Member Messages:2,203 Joined:Jan 15, 2003 FYI... "The reason that the PPIMV works so well in most Marshall circuits is because a significant component of the distorted tone in a classic Marshall style amp comes from PI distortion, not output section distortion. It fails to achieve the same degree of success in BF and SF Fender amps because most of their distortion occurs elsewhere in the circuit. This actual PPIMV circuit was included in some of the Marshall JCM800 amps that featured a master volume control. Its first use as a "mod" for Marshall style amps is attributable to a fellow named Joe Varela. It was first published as a "mod" for Marshalls, and credited to Joe Varela, in Craig Anderton's "Electronic Guitar" column in Guitar Player magazine in December 1982. The publishing date was 12/1982, page 113. The PPIMV actually pre-dates Rich, who apparently copied it from one of the MV-equipped JCM800 Marshalls and has made a name for himself, at least at the LPF, by applying it to older Marshalls. Interestingly, when copying the MV circuit from the MV JCM800, Rich apparently failed to recognize the safety value of the final pair of coupling caps and omitted them from his version of the PPIMV mod. By omitting these coupling caps, his implementation of the PPIMV mod fails to isolate the master volume control (and the front panel of the amp) from DC voltages, which is a major safety faux-pas. For safety reasons, I'd recommend using Joe Varela's circuit, not Rich's abbreviated version of Joe's circuit, as the last pair of coupling caps serve to keep DC voltage off of the master volume control, and off of the front panel. Instead of calling it the Rich Mod and giving credit to the wrong guy, it looks like we should really be calling it the Joe Varela Mod, or the Joe Mod. ;)"
Ever tried the Dive Bomb fx that Eddie used on the end of Eruption. You can do it with the DD3 you got close to the concept @ 1:29. Trick is One repeat & hit not cut vol & change the timing to drop down way Low.
Just because I see the question in the comments a lot...the glitch loop trick is a feature unique to the dd3 and won’t work with the other ones in the series afaik.
early dd3 t has the same chip as dd2 Dsd2 is a dd2 but it can store and play back sounds and you can quantise the delay repeats to things like drum machine with the trig in
Very cool demo! I really like that octave down thing that you did, I wasn't aware of that trick at all! Seems really useful for recording or just kind of jamming solo. Thanks a lot man I've subscribed and liked! When is your next video coming out?
Now sing the part about how burnt out your brain is, over the glitchy riff..... hahaha no ... good demo! i had no idea my pedal could do all that shit!
I picked up a dd7 for $90 used like new. It could do a fake chorus ensemble in the modulation mode. Never owned a dd3 but the dd7 could do what previous models could do but I would stack them one for long delay other short delay etc etc.
I use the fake reverb one all the time. I never liked how much of a reverby effect the pedal added then I realized that I could just use the pedal as a reverb pedal
You can with The RV-3 it's a Delay & Verb lots of crazy stuff can be conjured outta that one to. Btw Eddie use a delay to get that Dive bomb at the end of Eruption you can do it with the DD3 one of his secrets he uses a whammy bar to do it live now. But if you listen to the record you can get that low of a note w/the bar depressed fully down. He used a Delay one repeat cut the vol on Guitar & turn the time & it does the detuning aka Dive bomb heard at the end of Eruption.
Dude, i copy/learn that ''glitchy'' thing that you made and mix with a song of my band, it sounds amazing. Before seeing this video i use to think that the ''hold'' option was pure crap, haha, here's the video: facebook.com/Lalholanda.1/videos/10206567451603602/?pnref=story
+Cloudeater There's also a variation of the "glitchy riff" technique once you manage to master it and involves the second sound "octave" detune tecnique and also an inverse of that technique, with practice just by looking at the controls you can quicky figure out which one will work. Dont forget to try volume sweeps (from guitar or volume pedal), and after that you would want to explore the direct out, but that would need a signal splitter. The only unconvenience of the hold option is that you can't set it on a "locking" mode, BUT, you can mod the pedal to use an external locking footswitch, that way you dont need to spend most of the time lying on the floor, you can set the pedal on a stand where you can reach the controls AND leave the external pedal on the floor. Yes, I almost made a career out of this pedal.
