Visual Sound Dual Tap Delay - Synth Demo, No Talking! скачать в хорошем качестве

Visual Sound Dual Tap Delay - Synth Demo, No Talking!

Couldn't find one, so I made one. To my knowledge, I demonstrate every feature of the pedal as simply as possible. Enjoy. [All music composed and copyrights held by me - you'll hear these patterns in sets soon!] I sent a Nymphes through an EQ and tube processor to bring the sound forward a bit, as the pedal can be a little dark (see below). There's a little 60hz hum as a result, but it has nothing to do with the pedal. The pedal itself is nearly silent. I couldn't get anything I had to trigger the clock input; no idea what voltage and time duration it takes. The outputs allowed me to pan the dry to the left, and the effect to the right. I sometimes briefly bring it back to mono just give an idea what the pedal is "supposed" to sound like. Synth Review: This pedal is made for guitar, but seems ok with line. Its specialty is being built strong enough to survive any gig that doesn't get flooded or bombed. It also has a relatively clear and undistorted sound (noise artists, don't give up yet). For straight forward polysynth or lead duty, it works quite well, but it will take up too much room in an already cramped workspace. With two delay lines with infinite feedback and adjustable lowpass filters in the feeback path, one time modulated, you have enough variation to make quite intricate meshes of sound, even lush - if mono is your idea of lush. Overall, the design is a little, shall we say, half-assed. -First complaint - underuse of hardware. For one, the only routing is series. One delay runs into the other, period. Parallel would have been nice. As a matter of fact - There is a flippable switch which selects between "both outputs the same " to "one effect + dry and one just dry." They could have allowed separate dry/wet outs for each delay line - nice stereo effect. Or just wet outs, which would make it a great send effect. Or whatever else. However, everything seems to be rigged up internally on the processor, so I'm doubtful whether it could even be modified to do so. Second complaint - the right delay appears to have it's feedback DC-coupled to the summer on the input. This results in a build up of low frequency rumble with long delay times. The other line doesn't suffer this defect - perhaps the summing is done internally i.e. digitally. You'll notice the right channel has a darker, murkier tone, which no amount of EQ will clean up. It also seems they were careless about the gain, not accounting for this buildup, and so you "self-oscillation". Noise artists - eat well! Third complaint - you will hear that when changing the delay time, unpleasant artifacts occur. I even managed to ruin a really nice chord resolution here, to show how devastating this can be to the unsuspecting. I suspect it's because reading the pot results in the processor simply changes the delay index, rather than changing a rate of index increment. (Or what is algebraically equivalent - but technical details are so boring, aren't they?) Perhaps this was all the processor supported - perhaps it's just poor coding. What this means is you can't do those wonderful tape speed effects we've all come to love from delay pedals. You CAN make awful, glitchy digital trash with it, if that's you're thing. They seem to have put a digital filter on the input from the potentiometer, thinking the problem was noisy/erratic input. Nope, try again fellas! Look for the line that defines the indices for the summing calculations.. Woops! Too late! They folded! Fourth complaint - You can't change the modulation speed, only the depth. Pretty obvious what my problem here is. It's set at a dull vibrato, not terrible on a polysynth as you'll hear, but hardly musically useful in every context. Enough to spread the sound out somewhat pleasantly, that's about it. Another sloppy thing - there's a switch to leave tails on when effect is switched off, but this apparently only works for the left, "all digital", channel. Not to dog on the pedal - for what it is, lying on the floor at a rock show, kicked into gear a few times for a slow song or solo, it's perfect. The fact that you can have two different For the discriminating electronic musician, its best use is either as a straight ahead utility delay or as a twin-headed self-oscillating feedback monster. There's a little taste of this near the end. It could also be useful for its perfect tempo synchronization of the delays, if you can tap right on beat or figure out how to make the clock work. The time choices are musically useful, if not extensive. In my opinion, it takes up far too much space for what it provides; I could put something genuinely useful there, and use a much smaller thing for a much more interesting delay (with no earthquake rumble). This one will be ending up eBay quite soon, I'll post the link.