New Gear Review: Eventide DDL-500 Digital Delay

EventideDDL500The DDL-500 is an Eventide digital delay line for 500-series racks. The DDL-500 features up to 10 seconds of mono delay time using a 192-kHz sample rate. It includes analog goodies such as: soft saturation clipping, a low pass filter, feedback control, insert loop, relay (hardwired) bypass, and +20 dB of output boost.

The DDL-500s digital circuitry is kept at a minimum—just the chips necessary for delay. Delay times can be varied smoothly using the control knob or by connecting an LFO to the remote input. You can dial in short delay times to be used for comb filtering and flanging effects, and/or modulate delay time—old-school style—with a function generator (LFO).

The DDL-500 is also capable of extremely long delays (up to 160 seconds at a 16 kHz sample rate) for capturing long passages for lo-fi looping. From short delays for double tracking, to spacey long delays, swept delay trickery and tape echo style effects, the DDL-500 brings it all in a single 500 series slot.

Barry Rudolph is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs, and more. Barry has his own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine.