Ibanez DM1100 Rack Mount Digital Delay

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Step into the world of time-manipulated soundscapes with the Ibanez DM1100 Rack Mount Digital Delay. Perfect for studio engineers and live performers alike, this effects processor brings a vintage charm to modern audio setups. Renowned for its high-fidelity digital delay, the DM1100 offers musicians and producers a versatile tool for crafting echo and delay effects that range from subtle ambiance to expansive sound layers. Its rack-mount design ensures easy integration into existing studio gear setups, while its intuitive controls make it accessible for both seasoned professionals and aspiring audio enthusiasts.

The DM1100 is equipped with a high-quality delay line that supports pristine audio reproduction, allowing you to explore a wide array of delay times and feedback settings. Whether you're looking to add a touch of warmth to your guitar solos or create complex rhythmic patterns in your electronic music productions, this device offers the flexibility and reliability you need. Its robust build and straightforward interface mean you can count on consistent performance whether you're in the studio or on stage.

Key Features:

High-fidelity digital delay for clear and dynamic sound
Rack-mountable for seamless integration into studio setups
Wide range of delay times for versatile sound design
Intuitive controls for easy operation
Reliable performance for both studio and live environments

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Critic Reviews

Ibanez DM1100 Digital Delay (EMM Jul 84)

muzines.co.uk

A budget-friendly digital delay, the Ibanez DM1100 offers a remarkable maximum delay time of 3600ms, making it a strong contender for value-conscious musicians. Its modulation options yield impressive flanging and chorus effects, while the clean sound quality holds its own. However, the absence of a delay time readout can be a frustrating oversight for those needing precise settings in live situations. Additionally, while the unit excels in creating creative soundscapes, the high bandwidth limitation may deter purists. Overall, the DM1100 is a commendable choice for those seeking versatility on a budget, despite a few notable shortcomings.

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3.0 out of 5

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jimmarchi1

41029

almost 3 years ago

A versatile mid 80s 8 bit delay

This is a heavily companded 8 bit single delay line with a very 80s character. It offers agressive modulation and a delay time that goes from flanging through chorus up to over 3 seconds echo. Feedback can be infinite but will not self oscillate or exceed unity gain. Frontpanel features a freeze control. Some functions can be engaged via back panel Jack's with latching or momentary foot pedals.Mono input with mixed, mixed phsse inverted and dry out allowing pseudo stereochorus or out of phase echo when the dry signal is removed from the mixer and the dry out is used for dry, obviously. Input and outs are mirrored on the front and back. It also has a touchy input gain trim next to a basic treble to ground tone control before the delay line in the fx path only. The input circuity is pure vanilla.

These delays were cheap, marketed at synth players the hair metal budget rack guitar crowd of the 80s. Though they provided a +4/-20 switch, I find gain staging is critical when interfacing with properly designed plus 4 studio gear. Symths can wail on it producing earlier clipping on the wet signal than the input meters might suggest. That distortion is not plessant. Maybe trent reznor has a use for it.

Yes it was a cheapie and it's even cheaper now. In fact I got mine as a gift. That said it has a quirky retro sound all its own that sits quite nicely in some tracks and really melds withvontage synths... especially into big hall reverbs which allow you to get silly eith the pitch mod in a big wash if lush vangelis cheese.

I definitely recommend this little 80s toy. It's easily worth 80usd.

Roles:

Guitarist Bassist Keyboardist

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Electronic Orchestra Alternative rock

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The Future Sound of London

Music Producer

Vangelis & The Future Sound of London

Verified via Muzines

Future Sound of London equipment list from the August 1992 issue of Music Technology Magazine:

Instruments

Akai S612 Sampler + MD280 Disk Drive Akai S900 Sampler Akai S1000 Sampler w/8Mb memory E-mu Proteus/1 w/Protologic board Jen SX1000 Synth Roland D110 Synth Module Roland JX3P Synth Roland MC202 Monosynth Roland MKS50 Synth Module + PG300 Programmer Roland TB303 Bass Synth Roland TR606 Drum Machine Yamaha DS55 Synth Yamaha TX81Z

Effects

Alesis Quadraverb (x2) Alesis MIDIverb II BBE 422A Sonic Maximiser Bel Electronics BD80 Digital Delay Drawmer DS201 Dual Gate Fostex 3070 Compressor/Limiter Ibanez DM1100 Digital Delay Korg DRV1000 Digital Reverb Yamaha SPX90 Multi effects Processor

Recording

Aiwa HDX1 DAT Recorder Atari 1040ST Computer w/C-lab Creator software Fostex B16 Multitrack Groove MC2V MIDI/CV Converter Korg KMS30 Sync Unit Nakamichi 480Z Cassette Deck Sony DTC1000ES DAT Recorder Soundtracs CM4400 Mixing Desk Technics SL1200 Mk2 Turntable Yamaha NS10M Monitors

Criss Oliva

Guitarist

Savatage

Verified via Iheartguitarblog

Criss Oliva used the Ibanez DM1100 Rack Mount Digital Delay, as detailed in an article on Iheartguitarblog about his unit being listed for sale.

Denis D'Amour

Guitarist

Voivod

Verified via Voivod

"From there I go into two SPX-90 IIs and then into an old Ibanez DM 1100 digital delay. I use the DM 1100 just to split the signal. I don’t use the SPXs for that. The neat thing about the delay is that is has a 180 degree phase output. So i run the delay at only 50 milliseconds —one cabinet has that sound and the other has the phase sound. It makes for a very big sound on stage"