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EarthQuaker Devices Disaster Transport SR

   
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When it comes to delay, there has been an endless effort to recreate the magic of real tape. The warmth, the grittiness and it's unpredictable nature makes it the ultimate tool for ambient or lo-fi applications as well as recreating your favorite vintage echo. EarthQuaker Devices has long been a gold standard for the ambient crowd and the Disaster Transport SR is yet another shining example of "more is more", without being obnoxious. This pedal features two separate delay times, modulation control, reverb and parallel/series operation for a complete package of tape delay sounds.

To get the easy stuff out of the way, we tried everything "straight" and it did not disappoint. As far as tape echo emulation, Side A gives you 600ms of airy delay that you can further enhance with the modulation. You'll notice right away that the modulation control means business, which means that if you want it just slightly affected you'll have the dial almost all the way off. Working your way up to noon, you'll get some nice chorus/flange sounds that quickly start to warp and wriggle quite heavily, making some really cool effects that can sound like a record player in the hot sun or tape gone wild. The real fun starts when you run both Delay times together in parallel (separate), series or series/parallel. We really liked the bleed control, which blends Side A into Side B for wild rhythmic patterns and extra long delay padded by
ethereal reverb. And for those who like controlled chaos, there are expression jacks for both the Bleed and Repeat controls. Overall, the Disaster Transport SR will satisfy just about any tape delay need, but it's a must have for the lo-fi space junkies. 
 
In Earthquaker Devices own words....


The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it’s actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport SR.

Delay A Controls

Time: Controls the delay time from about 30ms up to 600ms.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation. This can also be controlled via an expression pedal. The Moog EP-2 is recommended.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it’s above unity.

Depth: Controls the intensity of the modulation, from no modulation to all out seasick pitch bends.

Rate: Controls the rate of the modulation. The LED for delay A flashes in time with the modulation to visually show where the rate is set.

Bleed: This feeds delay A into delay B, post reverb (see block diagram for visual explanation). Use this control for series or series/parallel operation to create rhythmic repeats, extra long delay time or an all out echo wash. This can also be controlled via an expression pedal. The Moog EP-2 is recommended. When using the bleed, experiment with the repeat controls on each delay line. Try using them in different settings, both together and individually, for different timing and textures.

Delay B Controls

Reverb: Controls the amount of reverb added to the input of delay B.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it’s above unity.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation.

Time: Controls the delay time from about 30ms up to 300ms.

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!