Designed for performance, the EuroDDL features external control of every feature and function. It has also been designed to sound less digital than the average delay. Eventide’s old school design strictly limits the amount of digital circuitry to only what’s required for delay. Soft saturation clipping, low pass filter, feedback, insert loop, and +20 dB boost are all analog. Once you hear it, you’ll know why this is the ultimate, most musical, Eurorack delay. To be a true performance instrument, all the controls of the Eurorack module must be remote-controllable; the EuroDDL does just that with jacks to accept control voltages and triggers. It’s designed to be played like an instrument and to ‘play nice’ in the rack with Return/Send and Clock In/Clock Out.
Built on History from the Originators
This Eurorack delay is well-steeped in history. Its ancestry dates back to 1971 when we created the world’s first 1745 Digital Delay Line. Back then, everything in audio was analog except delay, which is why our original delay line was used to sync the audio feeds to the speaker towers at the legendary 1973 Watkins Glen concert. Now, that history has been updated to breathe life into your Eurorack. It’s the perfect companion for synthesis and any other instrument.
– A 16hp Eurorack delay with minimal digital circuitry. It’s constrained to do nothing more than simple, yet flexible, delay.
– The DDL is pristine. It’s long. It’s short (0.11msec resolution). It’s smooth, it loops and it goes backwards.
– The delay converter is 24 bits with max delay up to 10 seconds at 192 kHz sample rate and 160 seconds at 16 kHz rate.
– Delay time can be varied smoothly and over a wide range; either manually, via tap tempo or by remote control voltage.
– Short delays can be used for comb filter and flanging effects. Longer delays for echo effects.
– Infinite delays for looping. Backwards delays for reverse effects.