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Hey buddy, welcome to your brand new advanced modulated delay and reverb machine! The
Disaster Transport SR
™
was designed 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. If not, you may have just made a huge
mistake. Hand made one at a time in sunny Akron, Ohio USA.
Expression Pedal Control
We recommend the Moog EP-2 expression pedal for use with the Disaster Transport SR.
Control Center
The controls for delay A and B are separated by row. The top row is for delay A and the bottom
row is for delay B.
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.
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Содержание Disaster Transport SR
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