recursive reverb

The Mosky spring reverb pedal arrived Thursday. It’s small, basic and it does the job. A guitarist who reviewed it said the settings get pretty extreme for his tastes and he keeps both knobs at 9 o’clock, but I cranked them fully and still wanted it in a feedback loop to make it go further. The blue LED on it was blinding, but after seeing some suggestions I tried a silver Sharpie I had to hand, and that dimmed it to reasonable levels.

Adineko arrived Saturday. It’s got a nice sound, especially with a bit of the “Viscosity” setting to make it all swirly… but unfortunately the “Reverb” knob (delay repeats) does nothing. Since I’m using it with a modular synth and Bitwig anyway, I can patch my own feedback loop to get repeats — and in fact, use that along with other processing such as the Mosky, which sounds pretty nice. But its own internal feedback is supposed to be part of its character (and why not combine both internal and external feedback loops), and anyway I paid for a fully working pedal.

The seller says it was 100% working when he shipped it, so he considers it damaged in shipping — and had shipped it through “Reverb Safe Shipping.” (That is, Reverb the online marketplace, not reverb the type of effect, nor “Reverb” the knob that isn’t working!) After some confusion and support emails on both our parts, a “Resolution Agent” is going to get back to me about it. I’d accept either a full refund and return, or partial refund to cover repairs. Probably the former is simpler.

Anyway, after my experiments I have decided I’m selling the Paradox Arquitecto, and will keep an Adineko and the Mosky in their own effect chain. I tried imitating it with Mimeophon by modulating the delay time and it wasn’t even close. It’s funny how many variations there can be on woozy, pitch-shifted echoes without them sounding very similar to each other.

Once this is settles, I am leaning toward Walrus Slö (a reverb made specifically for ambient music) and perhaps OBNE Dweller (a phaser/vibrato/tremolo/delay) to finish off the pedals. Keeping 4-5 mono pedals in two chains is easy enough to manage.

I haven’t really dived into my Akemie’s Castle study yet, but I have been pondering replacing it with Xaoc Odessa or 4ms Ensemble Oscillator. Those are both additive synthesis oscillators with different approaches. Odessa is pure brute force additive with thousands of partials, spectral tilt and comb filtering, a means of splitting partials in groups between two separate outputs (and harmonically multiplying or dividing one of those outputs), and detuning it into inharmonicity; it will do both linear and expo FM. EO is a 16-partial oscillator with banks of different scale combinations and programmable scales, putting it somewhere between chords/music theory and harmonic additive synthesis, and the oscillators can be shaped and have “cross FM” applied but not regular FM. EO is smaller and cheaper. Odessa is much less likely to ever have firmware updates (for good or ill) due to its FPGA nature. I’m sure both of them can produce a wide range of sounds but they’re both outside my normal experience so it’s hard to judge. Neither of them seem particularly difficult to use, though Odessa may be a little more straightforward. There are few demos of EO yet, and no really great comprehensive DivKid (or similar) demo of Odessa yet.

I’m also strongly considering switching out Supercell for one of the “micro expanded Clouds” variants and keeping it in Clouds mode forever, rather than messing with a cheat sheet and different modes. Right now I have 7 browser tabs open and am about to compare the different variants on features, layout, size and price.

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