The MF Drive is a unique, filter-based overdrive pedal that employs a Moog Ladder Filter, boutique FET amplifiers, and classic OTAs in its drive section making it highly reactive to input gain and picking dynamics. The bi-polar tone control and sweep-able filter work with input gain to offer each player completely customizable sounds from creamy British overdrive to cranked American tube amplifier and even fuzz. When the filter Peak switch is engaged and an expression pedal is connected, the harmonic content is shifted to the filter’s cutoff position adding tonal and dirty wah performance possibilities not found elsewhere.
GAIN- Sets the input level sent through the OTA before passing through the 4-pole Moog Ladder filter. At lower settings, the MF Drive is cleaner with a smooth breakup. As Gain increases, OTA and filter distortion increase causing the MF Drive to become more aggressive and reactive to picking dynamics
DRIVE - In the down position the Gain knob range is from +6.8dB to +48dB. In the up position the gain range is from +16dB to +57dB. This allows for extended control over gain-staging the input of the MF Drive.
FILTER- Interacts heavily with the Tone knob and filter Peak switch. With Peak off, the filter can be used to reduce top end and add heft to an amplifier. With Peak engaged, the filter can be used to add low, mid, or high frequency boost to your instrument. The MF-Drive by nature has a large bottom end, so this position is extremely useful for dialing in a more focused guitar tone.
PEAK- When engaged, Peak creates a +15dB boost at the Filter cutoff. It is extremely useful for accentuating mid-range or high frequencies. When paired with an expression pedal, Peak unlocks a whole new range of performance sounds.
TONE- A variable Lowpass/Mid-Scoop/Highpass voicing section sent through a boutique FET for color. At minimum, the sound is dark and full. Approaching the Mid position the sound varies from a slightly scooped American tube amp to a more British, mid-forward tone. At maximum position, the sound is present and articulate with a smooth, rolled of low-end.
OUTPUT- The output level of the MF-DRIVE is extremely hot to offer a wide range of tones from clean to dirty. With proper gain-staging, the MF Drive can also be used as a boost or wah pedal.
EXPRESSION PEDAL INPUT- This input is assigned to Filter cutoff. Use it for massive swells or engage filter Peak to create a tunable dirty wah. This setting sounds amazing on bass guitar.
• True Bypass
• Designed to sound and feel like a cranked tube amplifier without the noise
• Extremely reactive to input volume and picking dynamics.
• American and British amplifier versatility that when pushed approaches Fuzz
• Works great as a dirty boost for high gain amplifiers
• Expression pedal control of the filter creates a tunable, dirty wah
• Designed to perform with any Guitar, Amp, or Bass guitar configuration
The Blue Hippo Analog Chorus returns with its famously diverse range of luscious, liquefied tones—and then some! The MkII retains the MkI’s easy-to-use control setup, which takes you from lush tone-widening to full-on rotating speaker modulation madness from the depths of the Marianas Trench. But now, there’s a Vibe switch for adding some thick vibrato goodness to your aqueous tones. Don’t wade into the water without your Blue Hippo MkII Analog Chorus!
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