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 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.