When it comes to effect pedals, there is no name more iconic than Boss.
Known throughout the music industry for making some of the most enduring workhorse pedals of all time, the durability and consistency of Boss products is legendary. One of their most beloved offerings of all is the famous DD-3, a pedal that has remained the gold standard for compact digital delay units since its release in the 1980s.
The DD-3, like all good Boss pedals, is simple, effective and most importantly reliable, which as every working musician knows, is crucial above all else. Originally released as the DD-2 in 1983, the model was considered fairly unaffordable and didn’t quite take off. By 1986 however, the digital delay chips used in the DD-2 had become far less expensive and so the DD-3 served as a lower priced rebrand for the unit, one that was very successful.
DD-3
What set the DD-3 apart upon its release was that despite being a 12-bit digital delay, its feedback and mixing stage was all analog. The analog signal is divided, partially being sent to the delay chip and partially being sent straight to the output stage. Within the delay chip, the signal is converted into a 12-bit digital signal and is delayed, sending an analog signal back into the delay again to be manipulated by the feedback control. The result of this is that for every pass that the signal makes through the circuit, the repeats get more and more lofi due to the multiple conversions, making for a cool effect.
The original DD-3 had four control knobs, E. Level, Feedback, Delay Time and Mode. The E. (effect) Level knob controls the output level/mix of the delay sound. Turning this knob clockwise increases the level of the delay sound and when turned fully clockwise, the output level of the delay is equivalent to the direct signal. When turned fully counterclockwise, only the direct signal is audible.
The Feedback knob controls how many times the delay sound is to be repeated. Turning this knob clockwise increases the number of repeats, whilst turning this knob fully counterclockwise produces only a single repeat. The Mode knob is a selector switch with four modes. S (50ms), M (200ms), L (800ms) and Hold. These delay times can be finely tuned with the linear Delay Time control, the full range of available times being 12.5ms to 800ms. When set to Hold mode, the DD-3 essentially serves as a looper, allowing players to capture a sound up to 800ms long and then play over the top of it on repeat.
The DD-3 has served as a blueprint for many compact delay units that have followed in its wake, however it is still a favourite amongst guitarists for its simple design, excellent sound and physical durability. Famous users of the DD-3 are countless but include such varied artists as Thom Yorke, Slash, Prince, Stu Mackenzie, Nile Rodgers, Noel Gallagher and Lindsey Buckingham. For an excellent example of the DD-3 at work in the studio, check out Slash’s intro to the Guns N Roses tune ‘Welcome To The Jungle’.
After some time, Boss came to the conclusion that the DD-3 was still too expensive to manufacture, and the DD-3(A) was born. They redesigned the circuit board once again to minimise the amount of wiring that needed to be hand soldered and introduced a new delay chip. The circuit board in this version was also extended slightly to allow for the mode selector and the pots were rotated 180 degrees so that they now sat below the circuit board as opposed to above it as they did previously.
The third version of the DD-3, unofficially known as both the DD-3(T) and DD-3(B) was introduced in 2002 and featured a significantly altered layout. In this version, the circuit board is double sided and most of the components were shrunk down to the SMT micro-size format. This eliminated the need for connecting wires and the new SMT parts took up significantly less room. Whilst the construction of this version was far more efficient, many users feel that it has a less organic, more obviously digital sound and it is therefore less sought after.
The fourth and current version of the DD-3 is officially known as the DD-3T. The most notable update in this model is the addition of a tap tempo feature, which can be controlled with either an external switch or the pedal itself. Tap Tempo is a fantastic tool that allows players to program the exact tempo of the song at hand into their delay simply by tapping their foot along to the music. This allows for precise rhythmic delay effects that lock into the song’s tempo and become not only an effect but part of the arrangement itself. In this version, the ‘Hold’ mode is retitled ‘Short Loop’ to avoid confusion with the method of engaging the Tap Tempo feature, which is to hold down the foot pedal.
The addition of a Tap Tempo feature makes the DD-3T more powerful and versatile than ever before, giving players all the delay features they’d ever need in a very compact and sturdy package. The ability to set repeats, delay times and a wet/dry mix not to mention a looping feature in such a small foot pedal was revolutionary in 1983 but is perhaps now something guitarists take for granted. But the music world today still has a deep appreciation for the DD-3 in all its forms and that shows no signs of changing.
Whilst there are nigh on infinite handmade, boutique alternatives now available, ‘stuff that works’ to quote Guy Clark, will always have the hearts of the road dogs of the world and that is why Boss continues to thrive. The DD-3’s relatively warm, organic tone as compared to most digital delays is another big selling point and with the current version also having a Tap Tempo, it really can’t be beaten when it comes to a straightforward delay pedal. Simply put, the DD-3 is royalty. Long may it reign!
While the DD-3 is discontinued, you can read about it and more at Boss.
