This compact pedal provides a digital delay effect with outstanding quality equivalent to that of a dedicated rackmount delay unit, all with simple stompbox-style control.
Around 3:33 into this video, the camera pans across Tom Morello's pedals in his home studio. He doesn't talk about them specifically, but the Boss DD-3 Digital Delay pedal can clearly be seen. His pedalboard has been pretty standard throughout the numerous bands he has played with, and the DD-3 has been a mainstay of his effects setup.more
According to this post (link below), Mike Dirnt has MXR M300 reverb, Boss DD3 delay, TC Electronic PolyTune, TC Electronic Corona chorus and Lovepedals Fuse effect pedals in his guitar rig. (Probably this rig is used during The Coverups gigs.) Post https://www.instagram.com/p/B5tfX8sjdPM/more
Nels says of Boss DD-3, "The Keeley modifications provide some "warmer" delay effects choices while I am still able to get my old DD-3 weirdness happening (as in, really fast, heavy repeat-laden, digital-sounding, electro spazz-outs that I can cut on and off with no trail off). And, of course, I can get simple, tasteful bounce. I can get by with a plain old DD-3, too, but the Keeley one is just a bit better."more
In [this article](http://www.guitarplayer.com/artists/1013/the-killers39-dave-keuning/11697), Dave Keuning of The Killers states, "I use an Ibanez Analog Delay and a Boss Digital Delay for ambience on soaring lead stuff. I don’t know if it’s out of laziness or what, but they stay on the same settings the whole show."more
"The DD-3 we use for a long delay, for the song 'Dead Bodies [Everywhere]' and we use that with the talk box, so he gets a long droning sound, almost like a didgeridoo sound with that, and the thing about the DD-3 is that, when you disengage it it stops the delay immediately, as opposed to the newer delays that will trail out." – Jim Otell (Munky's guitar tech) on the Boss DD-3 Digital Delay Pedalmore
'I've talked to their amp guy before on myspace. I'll copy/paste some stuff that might be helpful: " input vol is usually around 7-8, treble 7, mid 5.5, bass 4, reverb 3-8, master about 8. you can get in the ball park with just about any tube fender, with the treble up higher than the bass. lately he's used the middle single coil on his guitar a lot live, in the past he used a filtertron in the bridge pickup pretty often, and that can get you there too. he's got a variety of fuzzes and things, but the basic things he's used for years are a blues driver and a digital delay. at the time of the video he was probably using a boss DD-3 or DD-5, a boss BD-2 blues driver, and maybe a boss metal zone. he may have used 2-3 of the digital delays chained together. he has always preferred to put the delays at the front of his signal chain (i.e. guitar-->delay-->distortion) while most people do it the other way. this changes the sound a little, adding distortion on the repeats of the processed delay sounds. those pedals will definitely help get closer to the sound-- the blues driver is on a lot of the time, and it adds a kind of rounded out midrange and treble. set your amp for a good clean sound instead of using the distortion on the amp, and use the blues driver for your distortion-- it's more mild than it seems. setting the amp to sound as distorted as it might sound on the record, but at a bedroom/practice volume won't get the sound, because part of that tone comes from the speakers and tubes in the amp breaking up/distorting a bit when pushed. on the newer stuff, isaac uses a lot of boutique pedals, fuzzes, delays, and so on-- i.e. zvex pedals, SIB mr. echo, boomerang, menatone, etc.-- but the core of the sound is still the amp and a basic overdrive. 'more
Boss BCB-6 Pedal Effects In Case (Est. $3,000 - $5,000). Six Boss pedals including: chromatic tuner TU-2 white, super chorus ch-1 blue, digital delay DD3 silver, digital reverb/delay RV3 grey. The case also contains tools including a pair of Les Paul’s sunglasses and has all of his settings recorded on masking tape. This is the gigging case used by Les Paul during his weekly shows at both Fat Tuesdays and the Iridium Jazz Club for decades. 3 ½ by 25 by 11 inchesmore
On the [Gear page](http://www.billyduffy.com/gear/boss-dd-3-digital-delay-pedal/) of Billy Duffy's website, he says, "I’ve ended up using the DD3 ‘cos it gives you that effect in an easily replaceable, robust, very reliable way. When I’m stopping on these with my motorcycle boots, when they’re on airplanes and the back of trucks I don’t want them to break. I use Boss pedals ‘cos they sound great and they’re made well. I could never take something on the road that wasn’t reliable, it would just create incredible headaches.”more
Brian Uses 2 DD-3's. One For Regular Delay And Another One For Loud Feedback.
Main Live Pedalboard Boss FV-50 Volume Pedal Boss TU-2 Chromatic Tuner Boss OC-2 Octave Pedal Electro-Harmonix MicroSynth Xotic Effects Bass BB Preamp Digitech X-Series Bass Driver Dunlop M-80 Bass D.I. Aphex Bass Exciter Retro-Sonic Stereo Chorus Boss DD-3 Digital Delay Demeter Opto-Compulator Dunlop CryBaby Bass Wah Darkglass Vintage Microtubes tc electronic Hall Of Fame Reverb tc electronic Flashback Delay Xotic Effects EP Booster MXR M87 Bass Compressor Voodoo Labs Pedal Power 2 Plusmore
Aaron North on the Boss DD-3 Digital Delay on a post made December 07, 2009.. "I actually used two of these live with NIN. One of them was set up as a short delay for a "slapback" effect, and the other as a longer delay. I used this pedal on many, many songs with Nine Inch Nails, including: "Head Like A Hole", "Terrible Lie", "Eraser", "Only", "Wish", and "Burn". I also think I used this on just about every Icarus Line song I can think of. Ha. "Feed A Cat To Your Cobra", "Spit On It", "Caviar"... Damn, all of 'em? I always felt kinda silly for being so devoted to this particular delay, until we did a tour with Bauhaus, and Daniel Ash had the exact same one on his pedal-board, and swore by it too. Actually... Because I've always kept the long delay settings in the exact same position for years... Occasionally, when it was time for me to play a "shoegazey/psych" solo type thing in a Nails song... I'd just play a solo I wrote for The Icarus Line over it, just to keep myself entertained. I think I did that quite often on "The Day The World Went Away"... Just playing my solo for "Getting Bright At Night" on top of it. On other songs, I'd slip in some Love And Rockets, The Stooges, or 13th Floor Elevators parts here and there. Nobody ever seemed to notice or call me on it. Hmmm. Anyway, whatever... This is a cool pedal. Ha."more
"But Ricky was really the main reason I turned to electric guitar, and I must tell you, for all the folks listening out there, the first pedals I really got turned on to were BOSS pedals. Moving to Nashville in ’96, I had a little BOSS treble box, a TU-series tuner, the CS-3 Compressor, the BD-2 Blues Driver, and a DD-3 Delay."more
Briggs took a more svelte approach for his pedalboard on the Coma Ecliptic tour. His stomp station includes a Boss TU-2 tuner, a Wamper Faux Tape Echo (used for a constant warbling tone), an Electro-Harmonix Bass Micro Synth (ideal for “Tom Sawyer”-ish bass-synth washiness), a Boss DD-3 Digital Delay, Boss TR-2 Tremolo, Boss PS-3 Digital Pitch Shifter/Delay (Briggs’ favorite pedal, which he currently uses as a chorus), and a Darkglass Electronics Duality Fuzz (which replaced a Keeley-modded Ibanez Tube Screamer because the Duality has a mix knob that allows Briggs to keep a more natural tone of low-end fury)more
Probablemente Munky empezo ha usar este pedal en el Follow The Leader y lo usa para alargar el sonido del pedal TalkBox en la cancion Dead Bodies Everywhere, este pedal a veces no esta en su pedalboard ya que hay Tours en el que no tocan esa cancion. En el minuto 10:49 se ve el pedal.more
> **Tell us about your pedals** > >My pedalboard is always in a state of flux, but currently I’m using an Ernie Ball volume pedal for swells and a simple Boss DD-3 for delay. I also have a Boss TR-2 Tremolo pedal and a Boss OC-3 Super Octave pedal, and a Fulltone OCD distortion pedal. For weird sounds, I’ll sometimes use my Electro- Harmonix Harmonic Octave Generator.more
"One thing I can tell you that I have used on the record is a very simple pedal, the EVH Flanger. Every time we needed a backup sound we'd just plug that thing in. Or just an original Boss DD-3. "We wanted to be able to recreate everything live and use stuff that you can get everywhere, so if something breaks, you're not just shit out of luck!"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
Howdeshell’s guitar pedalboard is simple. “I use an [Ibanez] Tube Screamer, which doesn’t completely distort the guitar—you can still hear the strings,” he says. “I also have a Boss Digital Delay, which I use for a really short slapback delay on pretty much every song. And for reverb, sometimes I’ll turn it up my Holy Grail superloud so that everything turns into a wash.”more
"I’m also currently using a Dunlop Cry Baby Wah, a Boss DD-3 Digital Delay, and an Electro Harmonix Small Stone Phaser. I have a Dunlop Q Zone that I use for a treble boost on a few things and an MXR Dyna Comp that I use on one song as a volume reduction so I can get a bit of a clean sound out of my bridge pickup."more
This is a photo taken of Frankie's pedalboard October 16th at a show in Atlanta. His pedalchain is as follows, boss TU-3 tuner, fender starcaster chorus, earthquaker devices talon overdrive, and a boss digital delay, I beleive it's a DD-3 because I only spoted one input, but I may be mistaken on that, at any rate the stutter effect he uses it for can be reproduced with any digital delay.more
From the cocksure uptown strut of ‘Neon Jesus’ onwards, guitarist Charles Rowland and frontman Brandon Welchez cut menacing, malcontented figures, with Rowland conjuring up squalls of sound and fury in one corner and Welchez spasming angrily around his microphone in the other, apparently unable to stand still.more
"I'm working on a system with one control / crocodile tail loop oc10. I recommend it because it is easy to operate intuitively. By the way, the purple pedal under the right is a handmade booster borrowed to takamatsu-kun. Setting distortion around the channel of leh + Chorus. DISTORTION ? The order of the space system is treated as a theory, but there is a SPACE ? Distortion, or a nuances that can't be sent. It's remarkable when you use your arm or do a choker. It was a reference to the setting of Sonic Youth Thurston • Moore. By the way, line6's dl4 uses the sampler function mainly. Time-to-time sampling phrases in real time." / Kobayashimore
> At one stage, I used to have to play guitar as well in two songs (I used my Roland JC-60 Amp and had a pedal set-up including a Boss DD-3, DS-2, and one of my favourite Boss pedals the LS-2, so I could blend a couple of different sounds with more control). We’ve since added an extra touring member so he gets to play with all that, plus a few extra toys he’s got.more
Luke Weiler of Positive Mental Trip has used a BOSS DD3 as part of his live guitar sound since 2016. Show to show he has really used it a lot of different ways. (Stutter, glitch, insane, but mostly for just pretty digital Delay sounds on rhythm and lead guitar) The DD3 is the main digital Delay used on most guitar parts on PMT’s 2017 “The Black and White album”. The Line 6 POD HD 500, BOSS DD20, and BOSS TERA ECHO are also on the album but 80 percent of the digital Delay sounds on “the black and white album” come from the BOSS DD3.more
very useful pedal. 100% needed for your pedal board. The effect level option will determine how loud the delay is, while the feed back option will determine how long the delay goes on for. the delay time will determine how long it takes for the delay to take place. there are four "modes" on the pedal. there are three choices between the milliseconds, 50ml, 200ml and 800ml. there is also a mode called HOLD. This will keep a note, chord or anything else repeating for as long as you want. And thats about it. A MUST BUY
Despite of being digital, you can totally get some organic repetitions. Going from a metalic reverb sort of sound to a 800 ms delay, it gives a wide range to explore. Also, the HOLD function is very useful when creating some artificial repetitions.
There are tons of delays on the market these days but only one with outstanding tone, simplicity, durability and decent price. This is of course Boss DD-3. It's been on countless pedalboards, records, gigs and discussed'n'tested everywhere. I have two DD-3s - one with the long chip from 1988 (Japan), the other one from >2010 era. Old DD-3s with mentioned long chip sound much warmer and pristine; a digital delay with analog characteristics, so if you are willing to experiment then find 1986-1990 DD-3 with Blue Label from Japan. Of course I am not saying that newer DD-3 are bad; quite the contrary - still great units!
I bought this for guitar - though as I am almost exclusively a bass player these days, and none of the mixers at the small gigs I play have much options for vocal effects - I have been using it for my vocals. As far as durability goes - it's Boss. It's been to hundreds of gigs and it's 10 years older than me. It's got some mojo, man.
I've tried some others, but I've always been happy with this one. Easy to use, it does all the delay types I've ever needed. If you need reverse, loops, shimmer, modulations....this is not your tool. This just makes a great replica of your signal and repeats it as fast and as long as you want it with excellent sonic quality. More than enough for me.
Like the sound of the delay as is clear as digital must be but quite warm as the analog delays obviously not the same but have the perfect balance in between if you need a pedal wich you can gig and make lots of sounds. Also 800ms of delay is more than enough and the hold feature is really useful as a micro loop
This thing is unbelievable in my opinion because you get the vintage sounding effects with the delay, and the level in which you decide to use makes each setting different from the next. Also it blends good with other pedals, great for making psychedelic music.
Dd3 was one of the first pedals I received; it continues to serve me both on stage and in the studio. The 800ms delay with live attenuation had made it my vocal pedal for our rendition of "She's Lost Control" among others. A girlfriend at the time actually labeled my name over the "digital" part of the unit; and thus my pen name was born.
Placed second before the modulation, filter, and overdrive pedals that will modify the DD-3 repetitions. With its reverb-like and short delay settings I use it more as a "short term loop" station whose loops are metamorphosed by the other effects
the TAPE MOD made by Cluster includes
The addition of a switch to delay with analog feel, doubling the chances of the pedal: a variant of analog sound and original sound factory. Second, the transformation of the pedal in an effects loop that allows to prosecute the other effects only repetition.
A 2-position switch added to toggle between two possible values. One will give replays one, softer and calm similar feeling. The other value enables to keep the sound factory DD-3. Direct Out convert the output into an effects loop. This add effects to tchehain to process only replays generated by the DD-3, keeping the original clean signal ... Fabulous! change original capacitors for high-quality capacitors MKT.
Basic digital delay built to last more than a lifetime. I use it on my Moog Little Phatty. Pretty useful mode switch that could be used anywhere anytime, for example in electronical music, where you make build ups with delay speed. Not too many settings to get lost in. Although tap tempo is pretty handy on the new DD-3T.
Everything from slapback to long ambient echo, as well as those crazy dotted-eighth cascading repeats you hear on Buckethead's "Big Sur Moon" and Paul Gilbert's "The Echo Song".