![]() ![]() To get a real sense of the width that the MicroPitch Delay can add to a sound, it needs both channels. Although it works perfectly well in mono, the single-channel mode simply doesn’t do this effect justice. There’s no doubt, this is a potent modulation and delay pedal, and it is the first pedal that I have ever believed needs to run in stereo. ![]() ![]() These simple auxiliary controls (along with the tone control) are enormously beneficial in sculpting sounds. The pedal contains valuable functions that let you balance the channels and the overall wet/dry mix. By combining different levels of pitch modulation on the delayed signals and having different delays on each channel, incredible soundscapes are possible. When you start combining the modulation and delay, the fun begins. There are no musical subdivisions available so if you want dotted-8th delays you’ll have to synchronise them by ear despite the tap tempo! However, this isn’t really what this pedal is about – but it could certainly fill the role of a traditional delay pedal if the need ever arose. By adjusting the tone control, we could get some passable BBD style delay effects as well as exact copies of the original signal. The internal pedal clock can either be synchronised to seconds or to bpm and the tap tempo then allows the delay time to override the rotary control.Īs an experiment, we tried to see how the pedal stood up just as a delay effect and removed all the pitch modulation from the sound. Depending on the mode, you can get a delay of up six seconds (which is a very long delay), so you can create some spectacular effects. By flipping to the second layer, the same knobs that controlled the pitch range for the left and right channels now control the delay time for each channel. The other function that this pedal provides is delay. Although quite effective, we personally preferred the solid modulation from the LFO – but this is very much a personal preference. A particularly nice touch is the ability to have the pitch range decrease with louder signals. The follower can be set to change the pitch range depending on how loud or quiet the incoming signal is. You can control modulation with an LFO or an envelope follower. The combination of this can create anything from a subtle chorused effect through to some pretty serious vibrato. The idea here is that each pitch control affects one side of the stereo signal – so the left channel gets sharper while the right channel gets flatter. A can raise the pitch by up to 50 cents, and B can lower it the same amount. The amount of pitch is controlled by the A and B knobs. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
January 2023
Categories |