During my explorations of the double-tracking effect, I enjoyed having the Strymon Deco and Keeley 30ms side-by-side, providing the opportunity for some compare and contrast exercises. The following are some quick thoughts:

– Keeley’s included reverb was great, complimenting the ADT effect perfectly. It gives one the feeling that the pedal is a set-and-forget, go-to-grab, pedal to always have with you.
– The 30ms ADT gives some more control of the detuning BUT, hidden dip switches deter one form jumping between settings — I always left it on the default which, probably, is going to be where most people leave it.
– The Abbey Mode –> moderate settings –> touch of reverb ==> Favorite Setting
– The Dimission Mode was cool and had characteristics of a Tri-Chorus —> very 80s sound but could also be subtle.

For both of these pedals, again focus on the subtlety of the effect, they sound great but almost forget they are on —- until you turn them off and are left with just the dry tone. They add a richness/fullness/volume (fill) to the sound.

– Deco’s control mechanics really feel like you are actually manipulating tape machines with concerns to response. Strymon has always mastered this.
– The Deco’s range of effect is ‘Wider’ than the 30ms, spanning from Phaser-esque, to Flanger, to Chorus, to Slapback. I have successfully hit similar sounding effect results to that of my CE-2w, Mooer E-Lady, and Phaser 95; of course, all a touch more subtle on the Deco than its counterparts.
– I favor the ADT setting but like to use lite chorus or flanging as well.
– I like the Tape Saturation Effect on the Deco and found it had more use to me on my board than the Chamber Reverb on the 30ms –> I have the Ventris on the board.

Note: The Keeley adds some more emphasis on higher frequencies in the effect which adds a tad bit of clarity and chime compared to the Deco which remains a bit more neutral. When you add the Saturation side of the Deco to the equation, that does add some articulation to the modulation effect.