From Pigtronix:Pigtronix Echolution 2 is a
Echolution 2 features stereo inputs and outputs, sporting an
all analog dry signal path along with extensive analog tone shaping and
filtering before and after the 24-bit, variable-clock digital delay line.
Rather than try to model the sound of analog delays in DSP, the Echolution 2
uses real analog filters and non-linear saturation stages to achieve its
signature sound with a smaller footprint, higher fidelity and far greater
functionality than its predecessors.
Available delay time goes from 10ms up to 12 seconds
instantly settable via knob, tap tempo or MIDI. Changing the delay time
manually results in the smooth pitch change of an analog tape unit, with a
unique twist that allows octave up and down jumping. The delay line can also be
turned off, to allow for the advanced modulation, pitch shifting and filter
capabilities to be used as stand-alone effects.
multi-tap capabilities of the Echolution 2 allow for the use of one or two
discreet delays which can be assigned to musical subdivisions of the master
delay time. Multi-tap selections include 1, 3/4, 2/3, 1/2, and PHI (the golden
ratio). One or any combination of two taps can be selected, allowing for
instant access to all of the most crucial musical echo patterns as well as a
wide range of unconventional polyrhythms.
The modulation section of the Echolution 2 features sample
rate modulation where both the read and write heads of the delay line are
affected by one of four different LFO waveforms (Sine, Square, Saw or Random).
Each of these LFO waveforms can also be quantized with a STEP mode and will run
freely or sync to either tap tempo or MIDI with variable sync ratios from 1:8
Echolution 2 sports four all new filter modes (Low Pass, Tape, Comb and Sweep).
Each of the first three modes can be combined with the SWEEP filter which is
modulated by the LFO as described above. Any of these filter settings can then
be run through a unique Pigtronix BIT CRUSHER destruction filter within the
delay line as well.
Expression / Envelope
knob on the Echolution 2 can be mapped to the expression pedal. Using the
included software, multiple functions can be mapped to expression with
adjustable range for each parameter. Additionally, an envelope follower within
the pedal can also be mapped to any parameter, with user definable sensitivity
and release time for each function.
The Kitchen Sink
Advanced features such as Reverse, Ducking, Trails, Listen
and Ping Pong modes are augmented by a unique Halo Shimmer function, which
causes the echoes to rise in octaves on each repeat. The externally triggered
Freeze function allows you to loop the content of the delay line and an all new
footswitch activated Jump function sends your echoes cascading up in octaves
when desired. The TRS remote switch accessory pedal for the Echolution 2
provides Jump and Freeze functions as well as instant access to four favorite
presets in each bank.
2 supports up to 60 custom presets contained in 6 banks of 10, all of which can
be edited in real time via the front panel and saved to the machine. Hands free
Preset selection is accomplished by holding down the onboard TAP switch, using
an external remote footswitch or via MIDI preset change command. The included
PC/MAC application allows even deeper real time editing as well as the ability
to import artist presets and share your own custom presets online.
provides instant preset change, Tap Tempo and LFO synchronization with an
external source as well as remote control over every function of the Echolution
2. MIDI OUT allows for tap tempo control over the Pigtronix Infinity Looper and
other MIDI capable devices. The USB port on the Echolution 2 provides
connectivity to MAC or PC computers, allowing you to run the free Echolution 2
application for preset management and real-time tweaking of advanced parameters.
The resurrection of the legendary Binson Echorec multi-head drum echo
“Driving force behind Pink Floyd’s Pompeii performance.”
The Binson Echorec was so cool we had no choice but to bring it back. And we wanted to bring it back right. We wanted to take all the goodness of that huge Binson Echorec and squeeze it down into a standard sized stompbox without losing anything. In fact, in addition to not losing any of the qualities that made it such a compelling musical device, we wanted to EXTEND its capabilities because the original Binson hinted at possibilities that it couldn’t realize. We’re talking about variable delay time! We thought, “What if we had the same four playback head concept but could stretch the delay time out beyond the 300mS of the original Binson?” Then the rhythmic patterns suggested by the various combinations of those four playback heads could really come to life!
The Swell knob controls the number of repeats regenerated - from a single repeat of each playback head to infinite repeats.
The Tone control tilts the EQ of the repeats from dark and fat to bright and thin. Dark settings makes the repeats sit in the background. Bright settings emphasizes the attack, great for playing off the syncopated rhythms of the multi-head arrangement.
The original Echorec had a maximum delay time of 300ms. The delay time on the Catalinbread Echorec goes from about 40ms -1000ms. And the cool thing is you can twist the Delay Time knob in real-time to get speeding-up / slowing-down, spaceship warp landing sounds!
Mix knob goes from full dry to full wet giving a lot of flexibility to use the Echorec in a variety of situations, even wet/dry rigs by setting the Mix full wet.
The original Echorec had a 12 position switch which controlled the various playback head configurations. Since the original was mechanical with the disc only able to go one speed, not all combinations were available for use. The Catalinbread Echorec changes all that. With the ability to vary the delay time on the single playback head, we were able to include all combinations, which include rhythmic patterns not available before.
The nature of the experience depends almost entirely on set and setting
The Bicycle Delay was something like an “Albert Hoffman moment” (to quote a good friend and guitarist Neal Casal). I sat down with no plan of where I was going but to allow myself the freedom to be open to wherever the journey took me and just document the experience. Really a strange path to travel when it involves something as cerebral as programming software. Or maybe it’s not. Maybe that’s a pure form of creativity, to use the boundaries something so matter of fact as programming as a medium for art? The result was a pedal as autobiographical as any I have been involved in. The Bicycle Delay is a physical manifestation of the experience of consciousness, letting go of the desire to control everything, and maintaining a positive attitude to leave room for a positive experience.
The more time I spent with the Bicycle Delay the more it unfolded its complexities to me. The harder I thought about what it was doing, the more difficult it was to put my finger on it. The more that I surrendered to what it was showing me, the more it set me free to be musically creative. In much the same way it took a computer to visualize a Mandelbrot Set, it took the Bicycle Delay for me to find the organic beauty in disharmony.
The way pedal behaves is also metaphoric to how I’ve been looking at life. Approach it from a negative perspective, go ahead, make it spiral downward. There is beauty in it, like there is enjoyment in picking at a scab. It’ll take you to darker musical places fitting for the vampires at night. It all depends on your mood. Bring it up, it wants to take off. Happiness in a madhouse. The most difficult and interesting stuff begins to happen when you keep it balanced. Edges of notes brighten radiantly to prominence, like the flora and fauna do when I walk Clemma in the early morning sun.
The Bicycle Delay is as organic as a computer growing from a tree. Sonically the pedal is ever changing, even turning the knobs has an amorphous behavior. Go with it.
• Circuit Design/Audio Engineer – Howard Gee
• DSP Engineer/Concept – Nicholas Harris
• Photography/Videography – Jessica Liu
• Artwork – David Medel Weirdbeard72
The first thing to keep in mind about the CSIDMAN is that it completely embraces and makes no apologies for the fact that it is digital (though it does have a 100% analog dry path). Digital is the CSIDMAN’s aesthetic: as a delay pedal, it strives to reproduce echoes as true to the input as possible without filtering. When you utilize its scratched disc, stuttery, and glitchy behaviors, it is pseudo-random, yet gives you a certain amount of “control” over the randomness.
TIME Controls the echo delay line’s delay time up to 725mS, as well as the rate of the glitch.
MIX Gives you control over the wet/dry balance from 100% wet to 100% dry.
FEED Controls the amount of feedback going back into the unit.
CUTS (used in conjunction with the LATCH knob) controls the buffer memory length.
LATCH controls the relative time in a cycle that the CSIDMAN is in a latching skipping state. When full counterclockwise, it doesn’t skip, allowing you to use the pedal as a traditional digital delay. When full clockwise, the unit is stuck repeating whatever is in the buffer memory. At noon, this knob is a 50/50 balance (though random) between a skip-playback state and non-skip sample state.
The MF Delay is a 100% analog delay providing 35mS-700mS of rich, blooming analog repeats. At shorter settings, the MF Delay is fast and articulate. This is perfect for creating classic slap-back sounds with expressive swells, and even plate-verbs. At medium and long settings, the repeats become darker, naturally trailing into a beautiful warmth and character not found in any other delay pedal. Connect an expression pedal and dynamically control feedback swells, or switch to delay time to create chorus/flange and tape delay effects. The MF Delay was designed with over 300 carefully selected components including 4 Bucket Brigade Delay chips, a discrete JFET input stage, and a vintage compander circuit for superior tone and feel.
TIME- Adjustable from 35mS - 700mS. At shorter settings, delay repeats are brighter and more articulate - perfect for slap-back and plate-style reverb/delay. As you increase the Time, the delay trails become warmer causing sounds to move and decay naturally under each new note or chord.
FEEDBACK- Adjustable from a single repeat with no decay, to extended trails that dissipate into a reverb-like state. When pushed past 2 o’clock feedback trails swell into infinity. This is an excellent creative tool for making sonic beds and trails where notes decay into a wash of musical noise. Pushed to maximum, the MF Delay will self oscillate.
MIX-Allows you to determine the blend between dry and effected signals. At minimum, delay trails are nearly inaudible. This is useful for ghost delays and creating natural room-verb sounds. At maximum, your dry signal is removed completely, which allows the MF Delay to work perfectly in an amplifier effects loop.
DRIVE- A pre-delay circuit that provides greater than 22dB of gain to both input and delayed signal. At low ranges it is excellent for creating subtle boost and mild tonal coloration. At middle position the sound becomes more mid-forward and punchy. At itsmaximum position, you have an incredibly natural boost/overdrive in your delay pedal that is great by itself or paired with an MF Drive.
EXPRESSION PEDAL INPUT: When assigned to Time, this input allows you to create everything from chorus/flange effects and tape delay to monstrous pitch shifting. When assigned to Feedback, this input allows you to swell in and out of infinite feedback loops and subtle delay trails.
• True Bypass
• 700ms of Bucket Brigade based analog delay
• >22dB of classic drive for boost and color
• Feedback range from zero to infinite
• Expression pedal input provides control of Time or Feedback
• Mix control allows dry signal to be completely eliminated
• Over 300 carefully selected components
• Vintage compander circuit.
• Designed to perform with any Guitar, Amp, or Bass guitar configuration