EarthQuaker Devices DisasterTransport SR Advanced Modulated Delay & Reverb Machine

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

Inaddition to being used as a straight delay, straight reverb, rhythmicdelay, modulated delay and old school tape-style echo, the DisasterTransport SR can also be used to create a wide variety of wild soundsranging from warped records, clanging flange, smooth chorus, echoed outsqualls 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 DisasterTransport Sr.

Handmade one at a time in sunny Akron, Ohio USA.

DelayA Controls

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

Repeats- Controlshow many regenerations of the signal there are. This ranges from onesingle repeat through an endless wash into self oscillation. This canalso be controlled via an expression pedal. The Moog EP-2 isrecommended.

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

Depth- Controlsthe intensity of the modulation. From no modulation to all out seasickpitch bends.

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

Bleed- Thisfeeds delay A into delay B, post reverb (see block diagram for vi- sualexplanation). Use this control for series or series/parallel operationto create rhythmic repeats, extra long delay time or an all out echowash. This can also be controlled via an expression pedal. The MoogEP-2 is recommended. When using the bleed, experiment with the repeatcontrols on each delay line. Try using them in different settings, bothtogether and individually, for different timing and textures.

DelayB Controls

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

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

Repeats- Controlshow many regenerations of the signal there are. This ranges from onesingle repeat through an endless wash into self oscillation.

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

Switching

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