The MF Trem is an analog tremolo pedal based around a balanced modulator and Sub Audio VCO. This unique design creates a wide range of tremolo effects that are based on phase cancellation and addition. Create classic optical and hard tremolo effects that are reactive to harmonic content, or push up the depth control and shift into the beginnings of lush phasing and chorus. The variable Shape control interacts directly with Tone and Mix to craft subtle swells and gallops to rhythmic percussive, and swirling effects. An expression pedal input adds control over tremolo Speed for beautiful, hands-free swells and rotary effects.
SHAPE- Sweeps between modulation waveshapes. Center position has a smooth rise and fall. This is great for creating optical tremolo sounds. Hard right has a hard impact followed by a smooth decline. This creates abrupt and percussive behavior that is very musical when paired with the Tone knob. Hard left has a smooth lift and abrupt drop off which creates a sound similar to a reverse effect at slower speeds and a rotary speaker at higher speeds.
SPEED- Sets the overall Tremolo rate. At slower settings the sound is swirling, lush, and transformative. As the Speed is increased the sound becomes tighter and more like a rotary speaker. The Shape and Depth controls will directly affect the perceived speed and rhythm of your Tremolo as they are increased from minimum to maximum position.
DEPTH- At minimum the tremolo effect is subtle and mostly dry. As Depth is increased more tremolo effect is blended in the mix causing phase cancellation and addition effects. At center position the sound will begin to gallop and swing. This impact on the sound varies significantly depending on Speed. At maximum position, the tremolo speed doubles and all sound is sent through the Tone control.
TONE- This control affects the Tremolo signal only leaving the dry signal untouched. At maximum, all frequencies are affected by the tremolo. As the Tone control position is decreased, the effect of the tremolo becomes more-subtle. From the mid position down, the Tone control can be used to dial in sounds that impact only low frequencies in your instrument or to shape classic rotary swirl and phase-like sounds.
EXPRESSION PEDAL INPUT:Assigned to Speed. Use it for swells and transitions between high and low settings.
• True Bypass
• Shape control creates smooth, reversed, rotary, and percussive effects
• Tone control harmonically interacts the effected signal to create wide ranges of movement
• Reacts musically to playing dynamics, chord positioning and harmonic content
• Expression pedal control of Tremolo Speed for beautiful swells and rotary effects
• 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.