Description
Ibanez produced a range of rebadged Maxon delays & effects including the DM500. It’s a generic digital delay with modulation & feedback controls
The DM-500 is a 12-bit device with a bandwidth of around 8 KHz so it’s ideal for lo-fi, grungey, early-digital effects and generating strange noises. It’s great for chorus, flanger & phaser effects
“The sound is really interesting, much more than the delays Roland, Boss or Korg the same time, itch, with certain sound sources it creates for some strange harmonic overtones “do not pass” in the A / DD / A converter giving a small 8-bit effect. it is perfect for the sound “80” of course, but also for the Dub techno”
“”The four things I liked about it back then were its ability to radically change delay times manually without any glitching (easy for all analog delays, difficult or impossible on many digital delays), a beautiful stereo chorus/flange via its LFO, a frequency response with more high end than the analogs of its day (but not too much), and a hyper-wide stereo field”
“Ok, I admit, I love Ibanez effects. Or let’s put it different, I highly respect the Maxon design team which was behind many of their effects. These guys got up with some brilliant ideas. (And did some evident borrowing from MXR and EHX just as well.)”
“What I’m surprised haven’t been mentioned are the 70’s era Ibanez delays. I’ve got 3 different ones, one with harmonizer functions. Not perfect for fidelity, but great for all sorts of things from straight echo to really monstrous flange and weirdness stuff”
“It also says “digital delay” on the front. 🙂 I happen to love the crunchy, sick sound of modulated 12-bit delay, so it’s certainly something I or any noise/electro soundmaker would use; but whether a “normal” bassist would have any use for it… maybe not”
