![]() ![]() We’ve already mentioned the modifier knob, but next to that are the Spread and Scan controls. The ones below it though are where the interesting things happen. One important thing to note is that, as you increase or decrease the size, there is no change in pitch. There’s level, repeats (feedback) and size (time). The controls across the top are, more or less, what you’d expect on a standard delay pedal. ![]() Crank that and you get heavily degraded, almost granular effects (which you can really lean into with the Spread and Scan knobs, but more on that later). Turn the Modify knob to the right and you’ll find rhythmic patterns to the left and the echoes will randomly disappear. Meanwhile Dropper causes your signal to drop out, appropriately enough. ![]() Trimmer slices bits of audio off the start or end of a note and can be used to create complex stuttering rhythms. But the two most interesting are probably the trimmer and the dropper. The other modifiers include tape-like lo-fi effects, smooth pitch changes and a multimode filter. This means that even if you don’t touch any of the other controls you have seven distinct delays at your fingertips. To the right of 12 o’clock plays the repeats forward, while to the left plays them in reverse. For example, modifier A-1 is a stepped speed change quantized to fifths and octaves. ModifiersĮach modifier has two different variations, depending on which way you turn the knob. This is hardly dealbreaker, but connecting audio, power and expression does eat up a little more real estate on your pedalboard than if the jacks were on the top. Instead you need a special adapter box or a custom wired cable to connect other MIDI gear to Habit.Īlso, because Chase Bliss has to make room for the dip switches all the jacks are on the sides of the pedal. The MIDI port on the other hand is a bit of a downer, especially now that ⅛-inch TRS MIDI is a widely adopted standard. I have a small handful of stereo pedals in my collection, and I almost never actually use them in stereo. Frankly, I don’t think the former is a major issue. The two primary knocks against it on the hardware front are a lack of stereo outs and a nonstandard ¼-inch MIDI connection. They’re small touches that elevate a Chase Bliss pedal above other players in the market, which is important when you’re charging this much. Now, there’s not a ton of ways to stand out in the pedal game if you’re sticking to standard sized metal enclosures, but Chase Bliss opts for knurled metal knobs and the LEDs are nestled inside tiny metal calderas. The hardware itself is likewise a step ahead of the competition. ![]()
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