pantherairsoft

Crazy enclosure, but awesome sounding pedal. The impedance control must be super useful for swapping between passive and active instruments as well. Seems like a very well thought out pedal!

That's understandable. 16 user patches is more than enough for me and as I don't use MIDI as a part of my set up anymore, neither of the aspects impact me. I can totally get how that would impact your decisions.

I’ve barely slept… so much stuff in here.

My holy grail of pedals... and one I've lusted over since the day it launched - the Microcosm is here. With a lack of UK distribution, the eBay pricing for these has been obscene, however, with Hologram adjusting their shipping rates and now shipping globally using a DDP shipping service (meaning all the VAT and customs fees are paid in advance - importantly working out a lot cheaper than paying yourself on arrival!), the overall price to buy direct has dropped a lot. In fact, this was ordered, delivered within 5 days and cost £100 less than the average 2nd hand one listed on eBay! The Microcosm is a soundscape makers dream - granular delays, micro looping, freeze effects, lust delay and verbs, revise effects, glitching... the list goes on. For a great deep dive on bass, here is a demo from Zack Rizer - I've been playing non-stop for the last 5 hours and honestly, I've never been as blown away by a pedal in my life. This is going to keep me very occupied for a long, long time! Shep

Okto is such a good pedal. Very good octave tone and tracking and very usable gated fuzz tones.

It is, but honestly, it’s surprisingly musical.

It’s a PLL. A good description from Broughton Audio, who make a pretty accessible PLL: “PLL stands for Phase Locked Loop. In short, it is an analog synthesizer with three channels: Square Wave, Multiplier, and Divider. The pedal operates by taking your input signal and applying a massive amount of gain to make it essentially a square wave signal.” You basically have three voices you can blend together (or just use one or two of them), with two of them being a multiplication or division of the core frequency. Any of all of the voices can be modulated with an LFO, and various other processing can be applied as well, such looping the last thing played anytime you stop to crest a drone that always changes, or just activate a drone tone and play the pedal, rather than the input signal. Overall you get utter sonic chaos. It’s abrasive and nasty, but also has some elements of old school synth tones. I’m very impressed with what it can do and feel like it’s going to give me a lifetime of knob tweaking. Here is an example:

Damn - I was totally unaware this was happening... I just saw the post today! FAIL. Next time.

Sold my Xerograph to GR7G5TER. Easy transaction, great comms, super friendly - all good! Thanks.

Did a pedalboard swap… easy transaction and awesome comms. Many thanks!

Super excited to have this land today. Montreal Assembly PURPLL (but in white, not purple). PLL madness with a scary amount of control. It only landed an hour ago, so the jury is still out, but so far.... DAMN! This thing is a noise-makers dream come true. Given the way I approach bass playing and soundscape creation, I am pretty sure I'm going to be giving this beauty some serious love! Any other owners/users around BC?

That all makes sense, it is just far less common to see them in that order, so I was interested in the reasoning. The traditional combo of Octave - Dirt - Filter (in that order) for classic bass synth sounds is the most common approach, but of course, there are always exceptions (and fuzz after filter does have some interesting textures to play with). I honestly think that this is the first time I've ever seen an octaver at the end of a signal chain though. Out of interest, what kind of music are you using the board for?

Octave at the end and filter first!? What is this heresy!?