The first part of the DD-200 review was dedicated to the design and the fundamental sounds of the latest Boss delay-creation.
Now, I would like to take a closer look to some special algorithms of this digital delay.
The Tera Echo is a special algorithm that has been offered in an individual pedal some time ago. The effect sounds pretty “spacey” for the numerous repeats are modulated/filtered and combined with reverb.
Fading the signal of the guitar in, you will get marvelous pads and by using the pots for Mod Depth, Tone and Parameter, you will be able to fine-tune the sound even more sophisticated.
Pad Echo is another ambient sound of the Boss DD-200. The time of the attack can be adjusted by using the parameter pot. It is really suitable for swells and shoe-gazing effects. By adding some modulation, you will get a beautiful sound scape.
Various rhythmical repeats can be created by using the parameter pot in the pattern delay algorithm. This effect type fully exploits the stereo panorama because the repeats can be led to the left and the right output if you connect two amps. I really like the chosen pattern for it is possible to combine fast pattern on one amp and a slow one on the other. Thereby, you will get some kind of question and answer game of the delays.
Actually, one thing I miss is a pattern for a common ping pong delay.
The lo-fi delay is what the name suggests. Parameter controls the overdrive. Maxing the tone pot, you will get slightly overdriven and thin lo-fi sounds.
Another nice algorithm is the dual delay. The parameter pot controls the delay time of the second delay. The fine-tuning of this effect is pretty nice to handle for it is indicated as a percentage of the original delay signal. This allows to adjust entirely individual rhythms: from a bad maintained tape echo with tone heads in varying distances to the golden ratio.
And as a multi delay, the DD-200 cannot dispense with THE 80s effect: the ducking.
The sensitivity can be adjusted via the parameter pot. Thus, you can create a delay effect with repeats that only become perceivable after the repeats decay. Perfect for fast guitar solos.
In the reverse mode, the parameter pot controls the attack. By using the tone pot, this mode becomes pretty flexible and allows to create beautiful, alienated sounds from a decent reverse sound scape to full wet (possible in the reverse mode).
A very crazy algorithm is the warp mode. Here, the delay speed as well as the pitch rise similar to the sound a tape delay produces when you move the tone head. You can also select one switch that always activates a certain preset to trigger this sound directly.
Last but not least
Last but not least, I should mention, that both footswitches, as well as the two optional connectable external switches are freely programmable.
If you use the DD-200 as an always-on-pedal, you can, for example, use the inbuild switches for tap and memory. And a hold effect for all effect types is also available. This effect keeps the delay signal endlessly without oscillation.
By the midi control via cc the DD-200 becomes a really extensive device that is also suitable for the recording studio.
The tap divisions provide the common divisions and are, because of the diodes, identifiable at first sight.
Presets can be saved easily and by keeping the tap division switch pressed, you can prevent your recent setting from an unintentional adjustment.
Besides the really nice sounding common tape, analog and digital sounds, the Boss DD-200 offers some ambient sounds as well. It also contains half of a DD-500 without the additional EQ options.
The sounds are predefined quite well and can be fine-tuned easily without the need for endless menu-diving. I can imagine the DD-200 on many touring pedalboards. Maybe even with a midi controller to select the presets.
And there is another amazing fact that can be overlooked easily: as a standalone pedal the DD-200 is really compact, provides many features and can be extended extremely by connecting additional switches and midi.
Really, really nice!
Sonically, the pedal is also very flexible. Even at a 12 o’clock setting of the tone pot, the sound is full and can be fine-tuned as desired. Cut the low end, make it darker…whatever you like.
The range of the modulation is very practicable and depth creates a musical drifting wobbling even at a 1 or 2 o’clock setting.
I don’t mind the missing of a pot to adjust the modulation speed. To be honest, you only use it once to adapt the speed of the modulation to the delay time and then, you never touch it again. When you change the delay time later, this setting gets out of tune and the modulation becomes annoying. Regarding the DD-200 the modulation is a “set and forget” that always sounds nice.
Actually, ever pedal should have a tone pot to find the desired sound. I mostly set it to 2 or 3 o’clock to get a bit more brilliance.
For the Boss DD-200 combines a lot of options and tap tempo in a compact enclosure, it is able to offer numerous sonic options for small pedalboards. Thereby, it becomes the perfect link in the product line between the DD-8 (without presets) and the DD-500 (bigger and with numerous parameters).