Feels like I'm hogging this thread, hope nobody minds the incremental changes.
Brilliantly, I've lit up the pedals with relevant changes. Some small, but surprisingly effective.
First, I took the DOD DFX9 out of the chain, but may plop it at the beginning or put it in a bypass loop or something 'til I'm done playing with it. It's not that the bypass sound is awful, but since I've got a few other new things in this setup, I wanna get the best sense of how they sound without the dulling from the DOD. Maybe first would be best for weird looping.
I swapped the order of the back half, now it's delay->Tera Echo->reverb. I initially figured I'd want to repeat the little TE laser swirls like you would a modulation, but that thing is like a wonderful, loving pet with a big personality. It's great, but I do not yet understand why it wants what it wants. So putting it after the delay seems to work better. I seriously love that Tera Echo.
But the real key, the MONSTER development is that cable running south from the DSD-2. Do you see it up there? Well, it goes to this:
[
that gorgeous English windowside setup last week finally shamed me into tidying up my desk somewhat]
I've posted another thread recently about the Trigger In functionality of the DSD-2/3, but here's what I learned today:
- The trigger/sequencer thing seems to flip the pedal on and off, in a sense, to the pattern you're sending it from a sequencer (in this case, the lit up steps on the big drum machine up there) and "capture" whatever was playing in the length of that 1/16th note sequencer step. Each activated step "opens up" the "record" of your delay pedal.
- If you're languidly jamming over a slower beat, sometimes it captures an unplucked ghost note. This had led to some wild-ass "reverse delay"-type sounds where it's caught a snippet of a decaying note.
- The delays seem to pile up and continue underneath, even in the "off" steps, so it leads to some cool rhythmic madness.
- You can adjust the level/feedback/delay time while it's in this mode, for spankier clusters of repeats where you actually hear repeats within that 1/16th window, or set it long to be able to catch those "ghost note" rhythmic swoops/trails in between plucked notes.
- The downside so far is that when it's in this mode, you can't turn the switch on and off, you've gotta kill it at the sequencer. But I'm thinking a little DIY kill switch between the sequencer/drum machine and the pedal would do the trick to bring that "sync'd delay" in and out of my chain.
It RULES. And for a guy who spends much of his home playing jamming along to the drum machine and a couple burbling synth bass lines, having another,
irregular delay that's perfectly locked into the rhythm machines is nearly a game changer.
Oh, and I've been setting the PS-2 for either that Jonny Greenwood-esque octave up or a big fat low harmony, I dunno which, but with the Superfuzz or Rat sounds like a monster organ kinda thing.
Hoping to get my recording station set back up for potentially locked-in days in the sweltering heat. If I can get it going right, I'll try to come up with clips sometime.
