Delayed Gratification
The first highly anticipated feature is the tap tempo input function, accessible through a third 1/4” jack on the right side of the pedal, allowing for the continuation of stereo inputs. Using an optional FS-5U footswitch, tempo can be set while the delay is disengaged. While in Modulate, Analog and Reverse modes, tap-tempo programs quarter-notes. In the standard delay modes, the input tempo can be subdivided into quarter-note, dotted- eighth, eighth or quarter-note triplets depending on the Mode knob’s position. Accessing the tap tempo function with the built in footswitch isn’t that bad – select the desired subdivision value with the Mode knob, hold the pedal down for two seconds, tap in the tempo and you’re off. Holding for two more seconds takes you out of tap mode and another short tap disengages the delay – on second thought, if you plan on using the tap tempo much, go ahead and budget an extra $25 for the FS-5U.
The next buzzworthy feature is the Analog delay mode, modeled to sound like a vintage DM-2. While not a dead-on impersonation, this mode sounded fat and sassy and just a touch more hi-fi than the real thing, which is not at all bad. It wasn’t necessarily brighter than a bucket brigade delay; instead, it delivered an unexpected amount of depth and liveliness. The Hold mode ended up being more useful than I anticipated. The 40 seconds of mono delay time was more than enough to lay down some chords for solos and a second loop didn’t hurt the sound, although if loops are your thing, you’ll quickly outgrow the DD-7’s capabilities – disengage the effect and your loop is gone. But for pickers who just need a little backing here and there, the Hold function works well.
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