Boss’ bucket brigade delay original returns having learned new tricks—and sounds glorious.


In their short production runs, Boss’ analog delays, the DM-2 and DM-3 were done in by digital competition within the Boss family: the DD-2 and DD-3. Had Boss merely revived the DM-2 it would have been cause for celebration. But the newest incarnation, the DM-2w Waza Craft, stretches the capabilities of the original with sonically scintillating results.

To start, Boss retained the basic functionality and delay parameters of the original DM-2, which are accessible in standard mode. Here, the DM-2 reminds you how fat and natural good analog delay can sound—and if you’ve been in the trenches with digital delay for a spell, the tones can be a revelation. Custom mode addresses the short (300 ms maximum) delay times that were perceived as shortcomings in the early ’80s by giving you an 800 ms ceiling. But custom mode is also just a touch clearer and brighter—and in a good way that doesn’t undo the delicious, dark essence of the analog repeats. Better still, it turns the simple control set into a beautifully expressive and sensitive tool for generating organically swelling self-oscillation and ringing overtones that complement those dark and softly tapering echoes. Beautiful!

Test gear:Fender Stratocaster, DeArmond JetStar, Fender Bassman, Vox AC10

Ratings

Pros:
Deep, sometimes beautifully dark, and immersive delays. Cool knob sensitivity.

Cons:
None.

Street:
$149

Boss DM-2w Waza Craft Delay
bossus.com

Tones:

Ease of Use:

Build/Design:

Value:

A compact pedal format preamp designed to offer classic, natural bass tone with increased tonal control and extended headroom.

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In high cotton: Charlie Musselwhite is thoroughly content with his return to the Delta. “We love living here,” he says. “It just makes sense, and it feels like the blues is alive and well in the Delta and you can just feel it rising up from the earth, it’s so present.”

Photo by Rory Doyle

On his new album, Mississippi Son, the harmonica giant steps out on guitar, evoking the legends of country blues 6-string and earning his place among them.

For Charlie Musselwhite, the blues isn’t just a style of music. It’s a sacrament. And Musselwhite is one of its high priests. With a palmful of bent notes on the harmonica—the instrument on which he’s been an acknowledged master for more than a half-century—or the fat snap of a guitar string, he has the power to summon not only the blues’ great spirits, but the places they rose from. If you listen closely, you can envision the Mississippi Delta’s plantation lands, where the summer sun forms a shimmering belt on the low horizon and even a slight breeze can paint your face red with clay dust. It’s a place both old and eternal—full of mystery and history and magic. And the music from that place, as Musselwhite sings in his new song “Blues Gave Me a Ride,” “tells the truth in a world full of lies.”

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The green machine that haunted the pedalboards of mid-’00s experimentalists is back—better and smaller.

Loads of delay voices. Easy to jump in and get great sounds. Looper function is a classic.

Tweak and tweez functionalities leave a lot to memorize. Reverb functions could benefit from their own controls

$299

Line 6 DL4 MkII
line6.com

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