Even with the best-selling delays in compact-pedal history, BOSS continues to push the envelope and innovate. The new DD-7 takes the best features from its predecessors and expands the creative potential with Modulation Delay mode, classic modeled...
A Boss DD-7 Digital Delay Pedal can be seen in the top row of Paul Banks' pedalboard in this pic. He comments, "I use a bunch of delay pedals, mostly an MXR Analogue, **an old Boss DD-7** that has a couple of settings I really like, and a small boutique delay pedal [the Malekko] that’s pissing me off!" (original source [here](http://www.musicradar.com/news/guitars/rig-tour-interpol-618675), article dated March 31, 2015)more
Justin Lockey users the Boss DD-7 delay pedal (x2). The photo matches [Lockey's Instagram photo](https://instagram.com/p/jra1oOinJw/), confirming this is indeed his pedal board. The DD-7 pedals can be seen in the top row, second and third from the left (you can tell they are DD-7 as opposed to DD-2, 3, 5, or 6 based on the "Digital Delay" text being staggered on two lines, and the inputs and outputs being labeled "A" and "B").more
In this Rig Rundown Shaun Morgan talks about his equipment for upcoming Seether Tour. His pedalboard can be seen 4:46 into the video, with Boss DD-7 on it. "This is my favourite, it's the DD-7. What I do between songs on stage is I hammer out a riff and I hit that (DD-7), so when I'm changing the guitar, there's something playing."more
Guitarist Robert Ackroyd has two Fender Hot Rod DeVille 212 amps. “They have a great drive sound without getting the levels too loud,” says guitar/bass tech Djamir “Penguin” Filho. “Added to the amps are two THD Hot Plates. I can control the levels and have the tubes always ‘full-on’ while keeping the volume correct for the show. We mike each amp with a Shure SM57.” Ackroyd’s footpedals comprise a H.O.G. (harmonic octave-generator guitar synth); Boss Loop Station RC-2, TU-3 chromatic tuner, FZ-5 fuzz, TR-2 tremolo and DD-7 digital delay; DigiTech X Series digital reverb; and Ibanez TS-9 Tube Screamer. - See more at: http://www.mixonline.com/news/tours/all-access-florence-and-machine/368254#sthash.PF1WImhw.dpufmore
For Marsden, his desert-island effect has to be an Ernie Ball VP Jr Volume Pedal because he says it’s the most expressive tool under his control. When it comes to actual noisemakers on his board, he has a Fulltone OCD, an Electro-Harmonix Big Muff, Electro-Harmonix POG2, a Strymon El Capistan, a Boss DD-7 Digital Delay, an Electro-Harmonix Bass Soul Food that he sniped from bandmate Emma Richardson, an EHX Cathedral, and a Danelectro Reel Echo. Everything is controlled by GigRig QuarterMaster QMX8 switcher and it all stays in tune thanks to a Boss TU-3 Tuner.more
In this live photo of Mike playing in Their / They're / There, you can see a Boss DD pedal on the floor if you zoom in. (Guitar-TU3-Little Wonder-Unknown Pedal-DD Pedal-DL4-Amp). You can tell it's a DD pedal because it has two jack sockets on the camera facing side and if you look even closer you can see the telltale blue topped knobs. I deduce that this is a DD-7 based on the colour of the stompbox versus the TU-3 and the age of the photo.more
Bottom row of Keith Murray's pedalboard, a Boss DD-7 Digital Delay Pedal can be seen. From a [2010 interview](http://images.equipboard.com/uploads/source/image/34972/uhXGb4d.png), he confirms it's a DD-7 when talking about the order of his pedals: > Oh. Ok. After that [Boss tuner and EHX Micro POG], then it goes a Boss DD-7 delay pedal, then it goes into, uh, an MXR Micro Amp...more
This was Laswell's list of pedals in 2014, in which this particular pedal can be found as well. "Ernie Ball Volume jr (passive pedal), Digitech Ex7-multi fx epression pedal (orchestra synth sound effect only), Crybaby Bass Wah, Moogerfooger Ring Modulator, Moogerfooger Murf, Digitech Whammy II, Electro Harmonix Bass Big Muff, Pigtronix Envelope Phaser, Digitech Bass Synth Wah, Dod Performer Wah Filter 545 (Beige), Boss DD3 Digital Delay, Boss DD7 Digital Delay/Looper"more
The "Equipment" section of this article sourced by the World Heritage Encyclopedia™ states that "Simpson's pedal-board consists of a Boss DD7, a Morley Bad Horsie Wah, a Dunlop Dime Signature Wah, an Ibanez TS9, an MXR Noise Gate, a Boss TU2, as well as a Boss BF3 and a Boss DD-6 delay pedal."more
"Enter the RG-16. This midi interface has made my life a lot easier. Now if I want to go from, say, my lead channel with my NS-2 and TS-9 to my clean channel with my compressor, DD7, RV5, on and my NS-2 and TS-9 off, I just have to hit one button on my Mastermind Midi Controller. It makes my life a LOT easier and makes tone changes a breeze. The setup was pretty complex and required the building of a ton of custom cables. The cable making was easy though, thanks to the custom cable making kits that Planet Waves makes. "more
In this video of Bad Suns performing Rearview for an Audiotree session you can see Ray Libby using a Boss DD-7 if you turn it up to 1080p and scrub through frames at around 0:18. It's definitely a DD-7 as the writing for Temo/Exp is there. In this video you can actually see him use it for this track which is really cool.more
Even with the best-selling delays in compact-pedal history, BOSS continues to push the envelope and innovate. The new DD-7 takes the best features from its predecessors and expands the creative potential with Modulation Delay mode, classic modeled Analog Delay mode, External pedal control options, longer delay time, and more.
This was my first 'Real' guitar effects pedal that started my unhealthy addiction to well, guitar pedals. Great for short delays, even better for longer delays and anything in between! I'm addicted to the Modulation setting and the reverse and analog setting are good fun to use as well. At the end of live shows, I usually set the Feedback knob on full and twirl around the delay time crazily to get wacked out spacey effects (with all my gain effects full bore). I use the Boss FS-5U for the tap tempo option which makes setting tempos a breeze with it, I recommend using the DD-7 this way because setting the tempo with the DD-7 by holding the pedal down for 2 seconds can kinda' kill the groove, especially turning it back off (you have to hold it for another 2 secs!). Another neat feature is the Hold Mode, which is useful to have for songwriting riffs and rhythms alone in your room, for live application it falls short, especially if your not good at keeping in time with tapping it on and off. Out of all my pedals this is the one pedal that will never leave my board and I never plan to replace it, the DD-7 has my sound and I cannot recommend it enough!
Overall an outstanding delay with the best benefits of a digital one - pristine repeats for cutting and defined repetitions, memory for 50s phrase loop - including analog modulation, wich is a satisfying one. Since its a digital delay i would like to fine tune my analogish repeats, and the modulation also, making the decay progressively brighter or darker, wider or narrower. That's why i dont give it 5 stars. But i guess that doesnt fit in this pedal format...
But sure is feature heavy, wich is so awesome. The input A and B have different delay times, and you can use the stereo in's and out's in a lot of different configurations, the expression control/tap tempo is also a great feature that analog pedals dont have (exept the ones that cost almost a whole salary)
Also the hold feature, it was at the time (this was my first effects pedal!) a major selling point for me, i've composed looots of stuff with the dd7's looper, but i find the 50 second memory too little for longer phrases im doing, so i'm looking now to get a dedicated looper. Still, its great to have it in this pedal!
Oh, and you can also use it as a not-bad-at-all-but-pretty-limited chorus! Wich is awesome! Just turn it full wet and bam, full on chorus sound! I've actually tuned my m134 chorus to match the dd7's chorus :p
Overall great bang for buck, super versatile, robust and great sounding!
I threw this guy on my board a few weeks ago. Great addition for only $150. I use it along with another, more robust delay (that now lives in the effects loop on my amp) to get some nice ambient tones. I like that is has a built in looper... fun tool to just layering ideas.
Maybe one of the most unsung heroines in today's world of analog obsessed tone hounds dishing $300+ for the latest and greatest and warmest delays out there. She's a BOSS and built to last. She can make yr other delays sound better with her pristine sound quality and theres just enough strangeness you can conjure. One of the BEST reverse modes out there is just icing on the DD7 cake.
Works Great for both Acoustic and Electric Guitar but the Delay Functions vary for its not the same for both . With the same setting there may be difference from the Acoustic to an Electric ...
It's super versatile, with all the delay modes it's got. On top of that, it's even got a loop function! The Hold function, which is basically a loop, is super useful and I find myself using it more than I use my actual looper, hahah.
I really do like this pedal. I rarely turn it off. I always use it in the Dotted eighth note setting. There's definitely better delays on the market but this one gets the job done. I wish it had the option for an external tap tempo switch.
Although this is a very popular and well-known delay pedal, I get the basic delay sound that I need. It works best with an external foot switch for tap tempo. You can use the pedal itself to "tap the tempo" but it's a lot easier if you have an external.
This is my main delay, used on most of Medicine Club's songs that use delay. The trails are fantastic as it gives me the flexibility I need to switch on other effects whilst the delay continues to ring out, which is really helpful when transitioning from one part of a song to another.
The reverse is great, you can get a slap back, long drawn out, a nice analogue, space noises and you ca even trick it into being a loop pedal. Also the stereo outputs are fun. This pedal is all over my live show.
A very versatile and powerful compact pedal, all the sound are nice
Mode Normal Delay Long Delay
3200ms 800-3200 ms 1600-6400 ms
800ms 200-800 ms 400-1600 ms
200ms 50-200 ms 100-400 ms
50ms 150 ms 2-100 ms
HOLD ----- 20s Mono 40 s stereo ----
MOUDULATE 20-800 ms 40-1600 ms ANALOG 20-800 ms 40-1600 ms REVERSE 300-3200 ms 600-6400 ms