The MF Boost is an Expression enhanced, twin topology boost pedal that allows you to select between an articulate VCA signal path and a colored OTA signal path. This completely unique boost design works with your guitar and amplifier to conjure boutique sound and responsiveness from any guitar/amplifier combination. Its natural compression and sound enhancement also bring out the best tone and performance in other effects pedals. When paired with an expression pedal, the MF Boost can be used as a tone enhancing volume pedal or sweepable-gain boost pedal. The expression pedal input also provides access to higher gain values not available on the panel.
GAIN- Sets the input gain from off to maximum. With the Boost switch in the down position (VCA mode), this knob should be set to maximum. In this setting you will notice tighter bottom, focused midrange, and a more open top end. With Boost in the up position (clipped OTA mode), the sound is creamy and lightly compressed with a slightly more forward midrange.
BOOST - In the down position, signal is sent through the VCA signal path providing clean, articulate tonal enhancement with a subtle 6dB boost (12dB+ w/ expression). This setting feels and sounds like a boutique amp in a pedal. With the switch in the up position, signal is sent through the clipped OTA path providing 12dB of boost (18dB+ w/ expression). This path has a creamy, classic tone that bonds guitar and amplifier for everything from subtle bite and drive to singing leads. Both settings have a naturally occurring musical compression.
TONE- At higher settings this control adds openness, note articulation and picking detail. In this setting the top-end in your amplifier is sweetened while remaining smooth, the mids become focused, and the bottom end appears more robust and tight. At lower settings the Tone control can be used to fatten up an amp or tame harsh top-end.
LEVEL- Level allows you to trim the output of the Boost while maintaining input gain coloration. This control does not go completely off.
EXPRESSION PEDAL INPUT - This input is assigned to Gain. With Gain set to minimum, an expression pedal can be used as a volume pedal. At the mid setting in clipped OTA mode, the expression pedal allows you to swell in and out boost levels musically. At maximum, use an expression pedal to add input Gain not available on the panel of your MF Boost and overdrive your amp.
• Articulate tone enhancement tool that you leave engaged
• Two selectable signal paths with natural compression
• Transparent tone circuit adds articulation, Nashville cluck, or removes harshness
• Can be used as a clean boost pedal, a dirty boost pedal AND a volume pedal
• Expression pedal adds gain past the panel setting
• True Bypass
• Designed to perform with any Guitar, Amp, or Bass guitar configuration
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.