Here are some impressions from the SUPERBOOTH 2019 in Berlin.
From May 9th to May 11th the SUPERBOOTH is back in Berlin. The exhibition for electronic music offers various presentations and DIY workshops. Continue reading “News + + + SUPERBOOTH 2019 + + +”
This is a video about how to use a huge pedalboard with all pedals midi sync. Besides the standard TRS cable I am using my self-designed DelayDude Midi Sync Cable. Check it out here.
The three controller pedals to control the DigiTech SDRUM, the Source Audio Nemesis and the DigiTech JamMan are also available in the DelayDude shop.
gear: Fender Jazzmaster with P90, Strymon Big Sky cab simulation direct into the soundcard rack preamp of the recording PC, Cubase.
Analog delay pedals are not all equal. By now, there are so many different pedals that you cannot speak of THE analog delay sound anymore. Continue reading “Analog delay sound”
The dark sound is a very famous aspect of analog delays. Because of their design, analog delays cut the treble to minimize besides noise. As a result, they sound very warm and rich and, on top, they go well together with overdrive effects. Continue reading “Dark Delays”
Besides spectacular delays every analog delay produces white noise.
Generally, one can say that the proportion of white noise increases in dependency of the delay time.
To some this unintended noise represent an important part of an analog character, others prefer digital delays to produce a signal that is more clear. Continue reading “Are there analog delays without white noise?”
To modulate sound signals by rhythmical amplitude fluctuations was a technique that has already been used in the 1950s and became famous again through grunge music.
Besides the first DeArmond tremolo effect, about which I already wrote in this article, there are many other possibilities to produce a tremolo effect. Continue reading “Tremolo effects”
This is a comparison of the Moog Moogerfooger MF-104M Analog Delay with its litte brother, the Moog Minifooger MF Delay.
While the MF-104M offers the possibility to choose between a “dark” and a “bright” setting, the sound of the Minifooger MF Delay is comparable to the “dark” sound of the MF-104M Continue reading “Moog Moogerfooger MF-104M Analog Delay vs. Moog Minifooger MF Delay”
This is a comparison of the Moog Moogerfooger MF-104M with the DOD Rubberneck:
gear: Fender Jazzmaster, Fender Tweed Champ, Celestion G12M, Shure SM57, Cubase.
These are the top 10 analog delays.
Of course this ranking is absolutely subjective. Continue reading “My Top 10 delays”
This is a comparison of the Moog Moogerfooger MF-104M and the Chase Bliss Audio Tonal Recall RKM.
Both delays have an analog circuit, modulation and tap tempo.
gear: Fender Telecaster, Fender Tweed Champ, Celestion G12M, Shure SM57, Cubase.
This is a video of the legendary Moog MF-104M Analog Delay:
Fender Telecaster, Fender Tweed Champ, Celestion G12M, Shure SM57, Cubase.
Expression-pedals, Midi, CV and Apps
The first pedal that could be controlled with an expression-pedal in real time was the Uni-Vibe. The advantage was that you could adjust the swiftness without taking the hands off the strings. Later this function could also be found in Auto-Wahs. In this way the pedal could be controlled just like a real Wah. Continue reading “How to control the parameters of a pedal”