Boss DD-500 Digital Delay
The Boss DD-500 is the most powerful and versatile stompbox delay ever made, thanks to its newly developed BOSS technology. With fantastic audio quality, rich editing features, a visual display, patch memories, MIDI, and other features, this amazing sound-generation toolbox has 12 different delay modes. The DD-500 will take your music to places you never imagined, from basic echo to dead-on replicas of classic delays to incredibly lush spatial textures that will leave you speechless.
New and Improved Control Parameters, Routing Options, and Effects for Increased Performance Flexibility are included in DD-500 Version 2 Software
The DD-500 receives significant new performance improvements and limitless customizability with Version 2 software update. An enhanced A/B simultaneous mode for sophisticated routing, as well as new Series and Parallel modes, have been added to provide even more control. The current delay algorithms now include five additional effect types, as well as numerous changed settings common to all modes. Further MIDI controllers, new modulation types, a feedback loop function for connecting external effects, customizable input and output levels, and other features have all been requested by the user community.
All DD-500 owners can download DD-500 Version 2 software, which is accessible in the Downloads section.
Features DD-500 Digital Delay
- 32-bit AD/DA, 32-bit floating point processing, and 96 kHz sampling rate studio-level sound with class-leading.
- From vintage to modern, there are 12 delay modes to choose from.
- For onboard and external switches, unparalleled real-time expression with customizable control settings.
- Easy to read and use, graphic LCD displays offer the best performance and editability.
- Patch memories and on-board controls are used.
- MIDI, USB, and more are all built-in to this device.
- Four AA batteries or a PSA-series AC adaptor are required to run.
Newly implemented features in DD-500 Version 2 Software
- More customizable control and output choices, as well as improved A/B Simul mode.
- Vintage Binson Echorec 2, touch-responsive filter delay, and five new effects have been added to the mix.
- Feedback damp and modulation mode are two examples of more sophisticated tone-editing parameters.
- With the new Insert Loop function, customizable EQ insertion position, additional independent delay connection modes, and more flexible routing options, the PMP2000 is a better choice.
- Stereo pitch shifters and overtone effects for Shimmer mode, effect targets for Slow Attack mode, and more are among the enhancements available in this version.
12 Delay Modes & Advanced Editing Capabilities
You may produce any delay sound imaginable, and then some, thanks to the DD-500’s 12 delay modes. From warm, gritty vintage delays and tape echo to complex modern delay lines that use pitch shifting, filtering, and other sophisticated processing techniques, everything you need is right here. It is straightforward to adjust critical settings and create excellent sound with the hands-on knobs. You may dive deep and fine tune tones with perfect accuracy using each delay type, which includes a semi-parametric four-band EQ, modulation, ducking, and various other features.
For stage and studio applications, there are additional advanced features
The DD-500 is the only delay stomp in the world that is actually usable. With one screen, clear visibility of delay time, patch ID, and more, as well as simple navigation for detailed parameter settings, naming, and system control are all possible on the large integrated LCD. And with the DD-500 Editor, connecting to your computer over USB is simple for remote editing and patch backup. For complex setups with effects switching systems and other devices, MIDI I/O offers a wealth of additional control possibilities.
The DD-500 is equipped with 32-bit AD/DA and 32-bit/96 kHz processing throughout, which has designed every delay mode for a distinct audio personality and highly musical tones at each setting. The DD-500 offers analog pass-through on the straight guitar tone, as well as buffered- or true-bypass operation, despite the fact that the delay effects are high-end digital. Buffered bypass has the benefit of enabling carryover, so delay trails are not abruptly cut off when the effect is switched off or switched patches are changed, which helps to improve the analog dry signal.
The DD-500 offers exceptional creative expression and performance freedom thanks to its freely assignable controls. Two patches, bypass, bank selection, tap tempo, and more are all available through the A, B, and TAP/CTL switches by default. They may also be configured to work in distinct ways, such as enabling you to use two patches at the same time for layered delay effects. You may assign the TAP/CTL switch to different real-time operations like Warp or Twist for a broad spectrum of expressive effects in lieu of tap tempo. MIDI instructions or connecting an extra expression pedal or external switches may allow you to alter even more settings.
Benefits Boss DD-500 Digital Delay
- If you are looking for a plug and play, stomp and go kind of box, this is not for you.
- This is a delay pedal for those that are after unique sounds and are willing to spend the time needed to create those sounds.
- Lots of deep diving to get the sound the way you want, lots of presets, MIDI and a lot of options.
- You can run two different delay types at the same time or you can use it as a looper pedal.
- I like the fact that it includes the Tera Echo, too.
- Enormously versatile programmable.
- Mind boggling versatility and tweakability with 99 presets, midi and 32 bit sound quality.
- DD500 pedal can do stereo, has dual delay (firmware 2.x+), looper, and even fringes into some reverby effects.
- The accompanying software allows to do tweaking from computer as well.
This one is great. I purchased the DD-500 to replace a TC Electronic Alter Ego X4, which previously replaced a Strymon Timeline. For the most part, I stick to the vintage delay modes on the DD-500. The most recent software patch added a Binson Echorec setting which is quite pleasing and can be tweaked to emulate the various plates used in that legendary delay unit. The sounds are a bit more sterile than a dedicated boutique single delay pedal (or the Alter Ego, for that matter), but the difference isn’t enough to bother me. Any clinical, sterile tone that this pedal gives off is more than compensated for by the DD-500’s absurdly powerful editing tools.
The DD-500’s screen and editing menus are miles ahead of the ones on the Strymon Timeline. I haven’t even scratched the surface of what’s possible with the DD-500. Some of these options include EQ curves, ducking, true bypass/buffered switching, changing between global tap and patch based tap, and even the option to run two patches in series. It also has the option to limit the number of patch banks that can be accessed. For me, I only need two settings for the most part; so I’ve limited mine to a single bank. No more accidentally “fat footing” two switches and being transported to another bank of presets. As a powerful delay unit that can create just about any delay you could ever need, it’s tough to beat the DD-500. The Timeline’s sounds are arguably richer, but they don’t seem to cut through the mix the same way the DD-500’s do. Taking into account the prices of the competition, I don’t see a strongly convincing reason not to buy this one.
By now the main strengths and weaknesses of this pedal are pretty well known – but it’s probably fair to say that its biggest strength is also its biggest weakness: Namely, it is ridiculously versatile, as literally every imaginable parameter of every algorithm can be edited separately into a vast number of individualized presets. This makes it a true Swiss Army Knife delay, capable of doing just about anything. The problem? Too many options, combined with an uninspiring base sound – so you really have to tweak it to make it good. The factory presets aren’t great, and the basic delay sounds aren’t terribly exciting – kind of flat, not warm or enveloping – and simply bland in terms of the stereo field. Yes, you can edit parameters to change this, significantly spicing things up.
But do you want to put in the work? There are dozens of settings for each algorithm, often with inscrutable names and functions, and the manual is no help at all – we’re talking hours of tweaking, not minutes. At the end of several days spent hunched over the pedal fiddling with settings, I realized a few things: One, I’d spent hours “playing guitar,” without actually playing the guitar. Two, I still didn’t have any presets with a truly enveloping stereo field (a real weakness of this pedal, in my opinion – it shouldn’t be that hard to coax decent stereo sounds out of a pedal with this level of sophistication). And three: My back was sore and I was tired of dealing with it. I guess I’m just not that into tweaking settings. If you are a knob fiddler, this is the pedal for you. If you aren’t – look elsewhere (I’d suggest the Meris Polymoon – now that’s a great stereo field, and far easier to use!)