Just like our discontinued Honey Comb Single, the Honey Comb Deluxe gives you true vintage analog tone and ease of operation that will open up a new palette of sounds reminiscent of early Fender blackface and vintage Vox tremolo circuits from years gone by. The only difference is that this one has those over the top options for the more demanding trem-o-haoulic.
We start by giving you an extra LED for the rate speed that stays on even when the pedal is in bypass. This allows a constant monitor on your speed. The next thing we do is add a second footswitch that allows you to alternate between two independently controlled speed knobs! This is like having two tremolos in one enclosure. The knobs are located over a third LED that is always on as well. When the LED is red it means you have the red speed knob activated and when it’s green… You guessed it; you have the green knob activated.
On V2's you will see a small red switch inside the pedal on the circuit board. Flip this switch down for slower speed ranges or keep it up for the stock speed range.
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.