Signal Chain

  • Reverend Guitars Pete Anderson Eastsider T
  • Fishman Asterope Pro Studio AST-P15-SSG
  • Dean Markley Helix, 10-46
  • Millennia Music & Media Systems HV-37
  • Radial JCR Reamp
  • Fargen Amps Pete Anderson Tumbleweed
  • EarthQuaker Devices Disaster Transport SR
  • Dean Markley CD30
  • Shure SM57
  • Triad-Orbit ORBIT 2
  • Triad-Orbit TRIAD 1
  • Avid Digi 003
  • Universal Audio UAD-2 Satellite Quad Core

Signal Chain

  • Ibanez 698MS
  • Dean Markley Helix Acoustic Phos 13-56
  • Reverend Guitars Pete Anderson Eastsider T
  • Dean Markley Helix, 10-46
  • Dean Markley Refill Bag of 72 1.0mm Delrin Blue Picks
  • Fishman Asterope Pro Studio AST-P15-SSG
  • Radial JCR Reamp
  • Fargen Amps Pete Anderson Tumbleweed
  • EarthQuaker Devices Disaster Transport SR
  • Dean Markley CD30
  • Shure SM57
  • Triad-Orbit ORBIT 2
  • Triad-Orbit TRIAD 1
  • Ibanez 2369B
  • Dean Markley Blue Steel Bass, 45-105
  • Millennia Music & Media Systems HV-37
  • Avid Digi 003
  • Toontrack EZ Drummer
  • Universal Audio UAD-2 Satellite Quad Core

The Disaster Transport Sr is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it’s actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport Sr.

Hand made one at a time in sunny Akron, Ohio USA.

Measures

5.5″ x 4.5″ x 2.5″ with knobs.

Delay A Controls

Time- Controls the delay time from about 30ms up to 600ms.

Repeats- Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation. This can also be controlled via an expression pedal. The Moog EP-2 is recommended.

Mix- Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it’s above unity.

Depth- Controls the intensity of the modulation. From no modulation to all out seasick pitch bends.

Rate- Controls the rate of the modulation. The LED for delay A flashes in time with the modulation to visually show where the rate is set.

Bleed- This feeds delay A into delay B, post reverb (see block diagram for vi- sual explanation). Use this control for series or series/parallel operation to create rhythmic repeats, extra long delay time or an all out echo wash. This can also be controlled via an expression pedal. The Moog EP-2 is recommended. When using the bleed, experiment with the repeat controls on each delay line. Try using them in different settings, both together and individually, for different timing and textures.

Delay B Controls

Reverb- Controls the amount of reverb added to the input of delay B.

Mix- Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it’s above unity.

Repeats- Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation.

Time- Controls the delay time from about 30ms up to 300ms.

Switching

The switches for both delays switch the inputs only. The outputs are always connected. This allows you to have trails by always leaving the bypass switch engaged or to use the bypass switch as the master on/off for true bypass. Additionally, you can feed delay A in to delay B with the bleed control without having delay B switched on for a cleaner rhythmic delay.

Power

A standard 9 DC power supply intended for musical instruments with a negative center 2.1mm barrel, 100ma minimum. We strongly recommend a high quality power supply with isolated outputs and good filtering to avoid unwanted noise. Current Draw is 100ma. No battery Option.

Starting with the Ultimate Speaker Demo, an ever-increasing number of the GearTunes audio  clips are being tracked using the Radial JCR Reamp. The Reamp was invented by my good friend and colleague John Cuniberti who engineered/co-produced many of Joe Satriani's most infamous recordings.

For GearTunes, reamping allows me to record a track where the guitar "hears" the amp in the room, but initially only the guitar or guitar and effects signal is recorded. This allows me to spend additional time perfecting amp tones and mic placement once I have the performance I'm looking for. One of the byproducts of this process is the creation of GearTunes DI Clips which enable you to play select guitars and effects through your amp by using your mobile device or computer as a reamp device.

For GearTunes DI Clips - and Gear Tune DI Clips ONLY (always found under the DI clips tab for gear that has one), you can play our guitar and effects through your amp. Simply use an unbalanced cable that terminates with an 1/8th inch jack on one end and a 1/4 inch jack on the other. Connect the 1/8th jack to the output of your mobile device or computer and the 1/4 inch jack into the front of your amp. Start off with your amp volume at zero and your mobile device (or computer) volume all the way up to ensure you hit the front end of the amp with enough signal, and then gradually increase the volume of the clean channel on your amp until you reach a level that is not capable of causing damage to your ears or equipment. GearTunes accepts no liability for the use, abuse or misuse of these clips, and playing them into your amp is done exclusively at your own risk.

I am tremendously excited about being able to share GearTunes DI Clips with you as you journey on your quest to find right gear for the music you play! Cheers ~ Doug:)

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