Pedal

Once again we’ve knocked the world of filter pedals off its axis. Autowah, envelope filter, step filter, random sample/hold filter, even a pixelated envelope filter. This one does it all. After a year in development we present The Prometheus DLX. An analog filter with digital control. We made sure to not build in any artificial limitations. The filter sweep goes above and below normal guitar frequencies, and works well with other instruments such as bass and synthesizers. Select between lowpass, bandpass and highpass filters, and virtually unlimited ways to manipulate them. We took the mad science of the original Prometheus and multiplied it, adding features that not only increase the sonic possibilities, but also make it easier to use. The DLX is a re-imagined Prometheus that uses all the knowledge we gained from The Quasar DLX, and our experience making the most exciting filter pedals in the world. We also added some improvements. More resonance? Yep! Tap tempo? You got it! For even more headroom the DLX will operate at 18 volts. There’s even an internal switch to add a dry signal blend to the bandpass filter. (See, we love you bass players too!) While the options are nearly infinite, we made sure to keep things simple enough so that the average guitar player could figure them out in a few minutes. The Prometheus DLX has nine basic functions: Analog envelope – forward and reverse. Step – tap tempo step filter based on 7 LFO shapes. Trigger LFO – tap to trigger one LFO cycle. Manual LFO – Manually control LFO speed. Warp LFO – tap tempo LFO speed with wave shape warp. Pixilated Envelope – sample/hold envelope control. Envelope Trigger – Envelope triggers LFO. Envelope->LFO manual – Envelope drives LFO speed. Fixed sensitivity. Envelope->LFO – Envelope drives LFO speed. Variable sensitivity. In each of these settings, the WARP control and TAP/HOLD serve different purposes to get the most out of each effect. The expression pedal input can be used with any non-envelope functions. Depending on the shape & mode settings the expression pedal has a different effect. For example, in trigger LFO mode the LFO shape is mapped to the expression pedal. Select the ramp wave for a “standard wah” effect. Choose the saw wave for a reverse wah. The triangle/square wave is especially strange. We also made major improvements to the step filter in the DLX. We not only added tap tempo, but the underlying LFO rate is locked to the step rate. If the step rate changes, there is no need to readjust anything to keep the same arpeggiated pattern. The warp knob is used to adjust the ratio of the step rate and the underlying LFO between 1:1 and 1:1.5. This ensures that there are no redundant settings. Notes about The Prometheus DLX: Powered by an external regulated 9VDC to 18VDC adapter with a negative center 2.1mm barrel style plug. Power supply is not included. If using a “daisy chain” power supply all other pedals MUST be negative ground. Current draw is less than 100mA. Length 4.7″ x Width 3.7″ x Height 1.2″ Input impedance- 1M Output impedance- Less than 1K. The Prometheus DLX is hand made in Oregon. Die cast metal enclosures for durability. 3PDT switches for true bypass switching. Red/Green LED indicator. Three-year limited warranty July 2015- Version 1.5 update: The most versatile filter pedal on earth just got better.The improvements include: More consistent settings between 9 and 18 volt operation. Minor changes and smoothing of the analog envelope follower Improved power filtering

The Quasar v4 offers eleven modes paired with a simple control surface. An abundance of non-traditional options are on tap. Rhythmic modulation patterns. Sci-fi discombobulation. Envelope speed control. Traditional phaser and rotary tones are in the box too, but you want more, right? Something different? Something that stands out? All analog phaser. Synchronized tremolo and chopper effects. Active volume regulation. This eliminates the drastic volume disparities typical of many phasers. Wide range of traditional and experimental sounds. Subdecay has been designing and building Quasar phasers since 2005. For the new Quasar we explored new territory. We love defying effects conventions and breaking the rules. The Quasar’s next evolution is here and we’ve built in so much more than before. Many of the new features are normally only found in fully digital effects. A wide variety of options are under your control. Pairing the analog and digital world together means there’s no compromise of analog headroom or that organic swirl that digital units just can’t match. Modes & Controls: In most modes the controls do what you’d expect. The offset knob is the exception. The offset knob is mode dependent. It sets anything from the phaser sweep center point to synchronized modulation ratios. Rate: Always controls modulation speed.Depth: Controls modulation depth.Color: Usually controls phaser resonance. In mode 5 it controls a portamento function.Mode: Set to any of the eleven modes. Modes are broken down into four categories: 1-4 Cross modulation (X-MOD)5-6 Step Sequencing (STEP)7-8 Envelope (ENV)9-11 Traditional X-MOD: Cross modulation is our fancy way of saying the effect is modulated two different ways at the same time. 1 & 2 -Triangle + Sine & Triangle + Square:The phaser is modulated by a slow triangle LFO and a faster Sine or Square wave LFO.Offset: Sets LFO ratio to 2, 4, 8, 16 or 32. 3 – X-Fade:A cross fade effect. This is kind of like when the radio DJ fades out from one song and into the next one, but instead this crossfades the phaser effect and the clean signal.Offset: Controls how often the effect crossfades over each cycle of the phases. Set to a ratio of 2, 4, 8, 16 or 32.Depth: Controls the cross fade depth. 4 – Tremolo:Synchronized phaser and tremolo.Offset: Sets tremolo ratio to 2, 4, 8, 16 or 32.Depth: Controls tremolo depth. Step Sequencer: Rather than traditional smooth phasing these modes create rhythmic phaser/filter patterns. 5 – Step Pattern:A stepping pattern based on a triangle waveform.Offset: Sets how far steps skip ahead on the triangle waveform creating repeating patterns.Color: Portamento control. Turn to the left to soften step patterns. Turn all the way to the left and modulation will smoothly glide from each step to the next step creating a myriad of unique wave forms. 6 – RND:Random Phaser sequencer with volume chopper (square wave tremolo)Offset: controls how long the volume is chopped per step. (0 – 50%) Envelope modes: Modulation is manipulated by touch dynamics. 7 – Envelope speed control:A phaser effect where the modulation speed is altered by playing dynamics. (Similar functionality to our Vagabond Tremolo, and (discontinued) Siren Vibrato.)Offset: slows down or speeds up modulation when you hit the guitar strings. 8 – Envelope Phaser:Similar to an envelope filter… but with a phaser.Offset: Controls phaser resting point.Depth: Controls how much playing dynamics modulate the phaser (just like an envelope filter.)Rate: Controls envelope attack and decay speed. Traditional: 9 – Rotary / Vibrato:Inspired by the long discontinued DOD FX22 with a deceptively huge range going from straight tremolo or vibrato, to very present filter/phaser tones.Offset: Controls tremolo depth.Color: Turn to the right for resonance. Turn to the left for a pitch vibrato effect. 10 – Slow Triangle LFO:Long linear phaser sweep perfect for slow speeds.Offset: controls center point of modulation. 11 – Fast Sine LFO:A faster phaser using a sine wave LFO.Offset: controls center point of modulation.

Spring reverb and bonus “room” reverb mode. Decay control to dampen or expand reverb. Retain your tone with all analog clean signal path. Trails option when bypassed Separate controls for the reverb and dry signal levels. Redesigned preamp for tube like dynamics and feel. Tone control for subtlety or in your face splash. By analyzing the design, sound and physics of real spring tanks we captured the nuances of tube driven spring reverb. Even something as innocuous as unplugging your guitar cable (kerplangagnangang)  sounds like real deal. A tone control allows you to dial in the perfect timbre. There is also an internal reverb send trimmer serving two purposes- 1. It allows you to turn down for hotter input signals. 2. It does essentially what the dwell control does on an outboard reverb tank. You can turn it up for a more dramatic effect or back it off for subtlety. Unlike a real spring tank the the decay knob allows you to dampen the springs for shorter reverb or bend the laws of physics resulting in long psychedelic resonating trails. The clean signal path is all analog. JFET amplifiers carryout the send and recovery of the reverb signal for even more tube like dynamics. The Super Spring Theory is equally at home in front of a clean or dirty amp. …But wait, There’s more! – Room Reverb There’s also that other reverb setting. ROOM. Don’t think of this as your typical subtle ambiance room reverb. That is certainly possible with the decay knob rolled back. The decay knob alters the dimensions from a broom closet to a cavern covered in ceramic tile with reverb trails over three minutes long. Like no other reverb pedal on earth. Every aspect of the Super Spring Theory was designed from the ground up. You won’t find a “reverb brick” inside. It’s not a datasheet design from someone else.  The Super Spring Theory uses our own DSP reverb algorithms that you can’t get anywhere else. More options In 2011 we set out to create the most realistic spring reverb simulation ever. The Spring Theory was born with authentic sound, feel and dynamics. Since then we’ve been taking notes for the next evolution. We listened and we know what you want. New features are packed in the same pint sized pedal. Now you can hear reverb tails when bypassed. Separate level controls for the dry and reverb sounds along with the new wide range tone control allow for subtle reverb to in your face salt water splash.

PRODUCT DETAILS GFI SYNESTHESIA GFI Synesthesia is a dual multi-effect DSP effects pedal perfect for any playing style. Two effects can be run at the same time with the ability to route your audio as a cascade, mixture, or stereo split. The order of the effects can be changed with the press of a button. Effects include delay, chorus, octave shift, vibrato, flanger, reverb, and more. The Synesthesia excels at internal modulation. The internal modulation features a robust selection of modulation routing and sources including LFOs and sample and hold. In addition to the internal modulation, the Synesthesia features AUX switch, expression pedal, or CV control for tap tempo, preset selection, and ramping. It ships with 22 factory presets, but up to 32 presets can be stored. Presets are organized in four pages. Each page has four banks, each containing two patches. The knobs each have two functions, with the secondary function accessed by pressing in the knob and turning. When you turn a knob, the display shows the last position was in. Full of tricks and surprises, the Synesthesia delivers on all fronts—bringing robust modulation and advanced DSP processing to your fingertips. SYNESTHESIA FEATURES Dual DSP engine Clear display shows effects information Effects can be routed as a cascade, mixture, or stereo split Change effects order with the press of a button Each knob has two functions Internal modulation options including random and LFOs AUX switch, expression pedal, and CV inputs Up to 32 presets

PARAGRAPHS is an analog four-pole resonant low pass filter with an attack, decay (AD) envelope generator designed with focus on simplicity and flexibility The heart of the LOW PASS FILTER circuit is the AS3320 analog chip — a modern replica of the same component used in analog classics like the Sequential Prophet 5, Pro-One mono-synth, Elka Synthex, and the LinnDrum. Cutoff spans the full audio spectrum and resonance starts to self-oscillate at about seventy percent.The ENVELOPE GENERATOR offers modulations in an uncommonly wide range of frequencies — starting as low as 0.05 hz for slowly evolving 20 second long cycles, and reaching up to (and past) the audio threshold at 300 hz for a wave shaping effect similar to sounds found on west coast style synthesizers (“think Buchla”).Paragraphs accepts instrument and line level signals. Dedicated controls for input (drive) and output level make it easy to move between a crystal clear clean tone and and a clipping fuzz. A multi-color LED provides a visual representation of the signal level. Red indicates clipping. Orange flashes indicate the start of overload. Green indicates the presence of signal at or below the nominal level.Inputs for CONTROL VOLTAGE and MIDI are available to remotely trigger the envelope generator. This enables your Paragraphs to stay in rhythmic synchronization with external systems like midi sequencers, euroracks, and digital audio workstations -1/4” mono input/output jacks-2.1mm DC Connector-5.7” x 4.7” x 1.5” enclosure dimensions-true bypass-input impedance: 1MΩ-output impedance: <1kΩ-power supply: 9 to 9.6 VDC center negative-current draw: 100mA max

POLYPHRASE is a stereo echo and looping device inspired by early proto-digital delays of the 1970’s like the Lexicon Prime Time. As sophisticated as it is easy-to-use, Polyphrase is capable of everything from rich, dubby rhythmic repeats, to metallic resonant flanges. It is unique in being able to generate loops as long as 22 seconds, opening up a new palette of sonic possibilities for the avant-garde, ambient, or adventurous musician.Polyphrase features two independent SLIDERSfor left and right delay times that can be locked into an infinite feedback loop which will produce an ever-changing sample of audio as each channel overlaps with another. This makes Polyphrase a tool for exploration capable of achieving the same kind of harmonic oscillation found on Steve Reich’s seminal tape piece “Piano Phase”.The TIME knob interacts with the left and right faders by providing nine different maximum delay times starting at 85 milliseconds, and doubling in value as the parameter is increased up to 22 seconds. Each new delay section is cross faded into the signal path, an important design consideration that avoids any pitch shifting artifacts and is useful for creating new and often unexpected musical phrases when used with high repeat settings.Three ECHO STYLES are available, and each style configures its own dedicated routing for the delay feedback path. “Dual stereo” provides two independent echos, and they can either be stacked in mono, or routed out of each stereo channel. In “ping pong” mode, each delay feeds back into the other, creating either a classic stereo ping pong sound (with each repeat bouncing between the left and right channel), or a multi-tap delay effect (when used in mono). The last mode is a mono delay - it routes the feedback path to the IN R, OUT R jacks so that you can use external effects in the echo’s feedback path.The TONE control is a bipolar equalizer (EQ) situated in the feedback path of the echo. At 12 o’clock, the EQ has no effect on the audio. Turning the knob clockwise cuts low end - making each repeat brighter than the previous. Turning the tone knob in the counter-clockwise direction cuts high frequencies - it creates darker repeats, which- makes Polyphrase capable of achieving similar timbre to the storied analog, bucket-brigade delays.The echo signal can be pitch modulated with the RATE and DEPTH controls for a sine wave style chorus / vibrato, or with a random wave for detuning effects similar to aging tape echos.Finally, Polyphrase has a fully featured MIDI INPUT that provides tempo sync, full remote control of all parameters on the faceplate, and access to 9 onboard user preset slots. FEATURES- Delay times from 5 milliseconds to 22 seconds- Two delay lines that can be used in stereo or stacked in mono- Infinite feedback- External feedback path- Tone control in the feedback path- Echo pitch modulation with sine or random style waveform- Tap tempo- Midi tempo sync- 9 onboard user presets accessible via midi program change (PC) messages- Remote control of all parameters on the faceplate via midi continuous controller (CC) messages- 3 gain configurations for line level, instrument level, or low instrument level- Housed in a single block of walnut, CNC routed, hand sanded & polished SPECIFICATIONS- 165mm x 140mm x 45mm- 1/4” mono jacks- Input impedance: 1MΩ- Output impedance: <1kΩ- Current draw: 200mA- Soft-touch foot switches- Buffered bypass    

Dynamic, responsive, tube-like, and amp-like. Walrus Audio is extremely excited to announce the new 385 Overdrive that is boastfully responsible for all those adjectives. For decades now, guitarists in search of pure tone have been taking the tube-powered audio sections of vintage film projectors and using it as a guitar amp. Heads up – it sounds amazing. After endless hours of research on vintage Bell and Howell 385 Filmosound projector, Walrus has created a fantastic new overdrive modeled after the projector’s tone. The Bell and Howell 385 gracefully lends itself to create an amazing guitar amp. Its simple, but effective controls, plus dual 6V6 output section make for a simple and extremely responsive amp that has an amazing compressed overdrive when cranked. THIS was the sound and feel Walrus needed to shoot for in an amp-like pedal. The 385 was developed to have the same simple but effective tone control as it’s grandfather. The amp has this as well but bass and treble are stacked behind the single tone knob. With our design breaking them up, we allow for a much wider array of tones to be achieved. The user is able to boost and cut bass and treble, allowing them to be creative with mid-frequency scoops and bumps. The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box. This means it is extremely sensitive to how hard you dig in – just like the amp. 

The  Walrus Audio Aetos is an 8-output, isolated power supply, utilizing an internal custom wound toroidal transformer to provide the highest noise filtering and cleanest power, giving artists the purest sound in their signal chain. The Aetos is housed in a solid die cast enclosure and is 4.7”long  x 3.7” wide x 2” height and  has 8 total 9VDC outputs, 6 are 100mA and 2 outputs are high current outputs (300mA)  for higher current drawing pedals like line 6 DL series modelers, the Boss Twin Series Pedals and many digital modulation pedals on the market. It comes with a detachable 120V AC Power cord and also has a 120VAC complimentary power output. This unit comes with 8 – 2.1mm barrel black power cables and 2 black-to-red (Line 6) power cables.  We recommend high profile dual lock for mounting the Phoenix under your board. Fits under most pedal boards including Pedaltrain (PT JR and up), Pedal Pad, Blackbird Boards, Creation Music Company, and Holeyboards.

The ARP-87 is a compact, feature-rich delay, packed with a large pallet of inspirational delay tones. Featuring four main algorithms, digital, analog, lo-fi, and slap back, the ARP-87 can cover some serious ground in the world of echoes. The  Digital algorithm boasts pristine, crystal clear repeats great for rhythmic riffs. The Analog setting works well to add warmth and dimension to chords and lines without getting in the way. The Lo-Fi algorithm, with its adjustable frequency range on the repeats, goes from warm, warped, and murky, to strait AM radio. Finally, the Slap setting makes it easy to dial in a great slap back echo perfect for smoking chicken pickin’ runs. With other features like our smart bypass switching, and momentary knob ramp, the ARP-87 provides endless creative opportunities that are waiting to be explored.   The X knob changes functions depending on which Algorithm you are using. It adjusts a specific parameter in each algorithm. In Digital, Analog, and Slap modes, the knob will control modulation depth. In Lo-fi mode, the knob will control Filter width.  Note that when changing delay types this loads a whole new algorithm and the tempo must be tapped in again. Max delay time is 1000ms. Trails Mode The ARP-87 can be run in trails or no trails mode. In trails mode, when you turn the pedal off, the delay trails die off naturally. In no trails mode, the delay trails are abruptly cut off when you turn the pedal off. To toggle between either mode, hold down the bypass switch for 1 second while applying power to the pedal. Unplug power and repeat to toggle to the other mode. Momentary Functions When the switch is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of delay texture. Releasing the switch turns the effect off. When the effect is on, press and hold the bypass switch to momentarily ramp the X parameter to maximum. Releasing the switch sets the X parameter back to the knob location.  Press and hold the Tap Switch to temporarily ramp the feedback to maximum. Release to set the feedback back to the knob location.

The  Descent was designed to create ambient textures of sound, from thick and endless hall reverbs to symphonic shimmers. The Descent is a three mode reverb system; hall, reverse, and shimmer. In each mode, the user has the ability to feed +1 and -1 octaves into the reverberated signal. The Hall mode will feature a classic reverb sound that can move your signal from a small-room-echo to a haunting long hall- echo. The Reverse mode smoothly flips your signal to playback unique responses and can be manipulated with pre-delay time controls. Shimmer mode highlights the octave features, dry signal, -1, and +1 to mix in your signal and creates a symphony of sound. The Descent offers you eight controls to precisely hone in your perfect reverb. In addition, the user can use an auxiliary momentary switch in the fav input to switch the pedal on/off and/or save presets. If you have an already crowded pedal board, you can set your Descent at the back of the board and run a small SPST switch to the front of the board so you don’t lose valuable real estate. The Fav input requires a TRS cable to be used. The expression pedal control works with most on-the-shelf expression pedals. This feature allows the user to set the high and low parameters of each control and then fade in and out the those controls by moving your foot up or down on the expression pedal.

[em-uh-ser-ee] Anatomy. Sending or coming out, as certain veins that pass through the skull and connect the venous sinuses inside with the veins outside. Built from the ground up, Walrus Audio has developed a new 2-in-1 boost to help make leads stand out, slides sing, finger picking come to life and to push tube amps into great natural breakup. Like the veins its named after, the Emissary Parallel Boost features two independent boost circuits running in parallel to work together to help give your tone a real “sinus clearing experience”. Use one or the other by itself, or mix any combination of both by turning up each knob to the desired level. The top knob controls the volume for the “bright” boost circuit. This is a clean, high headroom JFET boost, with a slight emphasis on higher frequencies to liven up your tone. The bottom knob controls the volume for the “mid” boost circuit. This circuit features a targeted boost at either 1kHz or 800Hz selected by the toggle switch. The bypass switch also features a momentary function. When the bypass switch is in off position, press and hold to temporarily activate the effect. Releasing the switch turns the effect off.

The Fathom is a feature-rich reverb with 4 different customized reverb algorithms to choose from. Easily go from tasteful, small room reverb to long, modulated trails dripping of ambient goodness. The toggle switch adds options for low, medium and high modulation. Use the dampen knob to fine tune the tone of the reverb's decay. The  Fathom features 4 different algorithms. Hall - Wide, open and vast with decay that ends with high-frequency rolloff. X knob adjusts pre-delay. Plate - Full Body reverb with a smooth decay. X knob adjusts pre-delay. Lo-fi - Filtered reverb with decay ranging from warm, to thin AM-sounding radio. X knob adjusts filter width. Sonar -  Reverb fed with both a high and low octave with the ability to blend the octaves with the X knob. Momentary Functions: When the pedal is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of reverb. Releasing the switch turns the effect off. Press and hold the Sustain Switch while the pedal is on, to sustain the reverb decay for a dreamy ambient decrescendo. Trails Mode: To turn trails mode on or off, unplug the pedal and press and hold down the Bypass Switch for two seconds while plugging the pedal back in.

The Jupiter V2 has some new updates making it an even more essential fuzz to any player's signal chain. • Increase of gain on tap. • Adjusted volume control making it easier to dial in unity gain. • Altered tone control for improved high frequency response. • Added gate control via internal trim pot to tame noise, or to achieve the spatty "dying battery" tones. • Killer new artwork and a new coal sparkle powder coat on the enclosure. • Brushed Aluminum knobs The Jupiter is a true bypass fuzz pedal inspired by the desire for gritty, thick and loud fuzz. Fuzz pedals tend to emphasize specific frequency ranges, which is both a positive and negative attribute. The Jupiter’s controls allow you the ability to dial in the right amount of fuzz with the right tonal quality to either stand out in the mix, or ride it out with the drums and rhythm. It includes a Mode switch that changes between three different clipping diode arrangements, providing more options and combinations of fuzz and tone and a Bass cut toggle switch for dialing in low end.

Tastefully updated in all the right places, the Luminary V2 expands its watchful eye for versatility in many genres and musical tastes. • Refined octave volume knobs • Lengthened attack time • Revised envelope low-pass filter • Tremolo effect on flutter knob • Added Smart Momentary Bypassing The Luminary is a powerful polyphonic quad octave generator with features for creating inspiring symphonic gusts of sound. Operating on the Analog Devices Sharc platform, the Luminary gives you the ability to dial in any combination of four separate octaves including -2, -1, +1, and +2, the user can craft many different complex sounds and textures with crystal clear and immediate octave tracking. The Luminary has three onboard presets available for saving your go-to sounds, as a well as live mode. This means the user can have up to four custom sounds available at any moment. Get epic steel sounds with the modulation control unengaged. You’ll find more experimental options with the filter control or a tremolo effect with the flutter control. Couple the Luminary with an expression pedal to expand its creativity even more. Extended Info Four octave options available -2, -1, +1, +2 – The four knobs across the top of the pedal control the level of each octave. With the Dry/Wet control, the user can explore the ground between minimum and 12 o’clock to keep the octave signal lower than your dry signal for subtleness. The territory between 12 o’clock and maximum keeps the user’s dry signal lower than unity for a boastful octave sound.The Attack control dictates how fast the octaves bloom after the initial attack. Allow the octaves to swell in gradually at a higher attack setting. Hear immediate octave response with the attack control low or off. The Filter knob controls the cutoff of a low-pass filter on the octave signals and also increases an envelope type effect at higher settings. The Flutter knob enables a tremolo effect that can be applied to the octaves. At zero, the tremolo effect is off. Increasing this knob engages the tremolo modulation and controls the rate of the effect. The expression control allows the manipulation of any combination of these options to allow the user to customize the effectiveness of the Luminary: -1 and +1 octave volume, +1 octave volume, Attack, Flutter, and Dry/Wet.

The first in the Mako series, the D1 is a powerful multi-function delay with five, studio grade, high-fidelity, custom tuned programs. The programs are Digital, Mod, Vintage, Dual and Reverse. Each can be tuned and tweaked with modulation, tone, age, and subdivisions. The attack knob adds another dynamic to each program, opening up a new world for creating soundscapes. The D1 boasts stereo in and out, midi control and on-board presets. A workhorse of a delay that is just as ready for the road as it is the studio. Programs Each program can be fully customized to your taste and playing style with the Tweak knob. Flip the toggle switch to Mod to bring in a tasteful modulation to your delay trails. Tone will brighten or darken your delay trails. Age will add some grit and wear reminiscent of vintage delay units. Subdivisions can be easily changed between quarter, eighth and dotted eighth. Digital - The Digital delay program offers a clean and crystal-clear delay that is perfect for rhythmic guitar parts where ultra-defined echoes are desired. Mod - The Mod delay progam has unique modulation LFOs applied to the repeats that are random and run at multiple rates to create unpredictable pitch modulation. This results in very unique sounding repeats perfect for warping minds and scattering trains of thought. Vintage – The Vintage program allows for analog delay inspired tones to be achieved with complex filtering applied to the repeats. Use the tone knob at low settings for darker filtering and at higher settings to roll off low end. Dual - The Dual program employs two delays in parallel, each with different time divisions. When connected in mono, the two delays are added together. When connected in stereo, one set of repeats is sent to the left output and one set is sent to the right. The division switch has unique functionality in Dual mode. We’ll break it down for you below: In the quarter note position, the D1 offers 1/4 note and 1/4 triplet repeats. In the eighth note position, the D1 offers 1/8 note and 1/4 triplet repeats. In the dotted eighth note position, the D1 offers 1/4 note and .1/8 repeats. Reverse - The Reverse program reads the delay memory backwards creating a unique delay repeat character known as reverse delay. Presets The D1 is capable of saving up to nine on-board presets and up to 128 are accessible via midi. Onboard presets are accessible with the bank switch. Cycle between presets in each bank by pressing bypass and tap at the same time. You will see the tap LED change from Red to Green to Blue. Any adjustments made in a preset will change the tap LED to purple to show that you have edited the preset. Refer to the manual for accessing and saving presets via midi. Attack The Attack knob will soften the attack of the echoes. Dreamy and ethereal soundscapes can be created with higher repeat and attack settings. Bypass and Tempo Modes The D1 has three different bypass modes. True bypass, DSP+True Bypass (trails), and DSP Bypass. The D1 offers global and preset tempo modes. Global mode keeps the tempo the same when changing presets. Preset tempo will use the delay time that was stored when the preset was saved. Refer to the manual for more info on switching modes.