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Catalinbread Csidman Glitch Stutter Delay Guitar Effects Pedal
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- Mã sản phẩm: B01EY1NJ2Q
- (147 nhận xét)
- Item Weight:8 ounces
- Product Dimensions:5 x 3 x 3 inches
- Country of Origin:USA
- ASIN:B01EY1NJ2Q
- Item model number:CSIDMAN
- Customer Reviews:4.4 out of 5 stars 145Reviews
- Best Sellers Rank:#20,414 in Musical Instruments (See Top 100 in Musical Instruments) #5,467 in Guitar & Bass Accessories
- Is Discontinued By Manufacturer:No
- Date First Available:April 29, 2016
- Color Name:Yellow
- Voltage:9 Volts
- Controls Type:Knob
- Signal Format:Analog
Tính năng sản phẩm
• 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.Mô tả sản phẩm
From the manufacturer
Catalinbread CSIDMAN Effects Pedal
Features:
- 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.
- Based on an old, skipping portable CD player, the CSIDMAN incorporates those effects into a digital delay pedal that not only does typical delay sounds, but also skips, stutters, and glitches!
- As you skip through the multiple settings (i.e. feed, cuts, latch), you can fully appreciate what the CSIDMAN is intending.
Emoclew ot eht NAMDISC!
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. We've taken the idea of your old skipping portable CD player and incorporated it into a digital delay pedal that not only does normal delay sounds (at CD quality) but can also skip, stutter, and glitch just like your beloved old CD player!
You can power your CSIDMAN with any quality power supply designed for use with effects pedals. The output should be a negative tip DC from 9 to 18 volts. The CSIDMAN does not run on batteries. If you want more volume, headroom, and percussive attack, try running an 18 volt power supply. A 9 volt power supply will have a slightly softer sound that saturates more easily.
Quick Start: Plug your instrument into the CSIDMAN and directly into your amplifier. To begin, set your latch knob full counter-clockwise. For now ignore the cuts knob, and use your time, mix, feed knobs to dial in traditional delay sounds. Now that you have dialed up a conventional digital delay sound let's make it glitch by turning up the latch a bit. Keep playing a staccato chord to hear how every repeat cycle randomly glitches. Turning CUTS counter-clockwise makes the slices bigger, turning it clockwise makes the slices smaller.
Spend some time here and really pay attention to what the feed, cuts and latch knobs are controlling as they are all codependent. The higher the feed setting, the more the latch control will be affected, etc. As you are skip-p-ping through these settings you can fully appreciate what the CSIDMAN is intending, as the behavior is completely random and outside your control. There are a variety of other sounds available, utilizing different ratios of feed, cuts and latch. Keeping in mind any adjustments you make to the feed, cuts or latch controls may still yield responses that manifest in a random way.
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.
Mix
Gives you control over the wet/dry balance from 100% wet to 100% dry.
Powering Up the CSIDMAN
The output should be a negative tip DC from 9 to 18 volts. The CSIDMAN does not run on batteries. If you want more volume, headroom, and percussive attack, try running an 18 volt power supply. A 9 volt power supply will have a slightly softer sound that saturates more easily.
Time
Controls the echo delay line’s delay time up to 725mS, as well as the rate of the glitch.
Designer's Notes
I was first introduced to glitch/stutter effects through that ridiculous Jonny Greenwood video a number of years ago. For years in the back of my head I puzzled over an application for such musical cacophony. I mean it is an over the top freakout for peak climactic moments in a performance where the music seems that it cannot rave-up any further.
Cool, that’s a one trick pony, right? Well, not at all. It came together when I realized the potential for this sort of effect to dice up familiar gentle sounds, in an uncomfortable yet beautiful way. I was reminded of an effect my friend and guitarist Paul Rigby (Neko Case, Garth Hudson) asked me for, something that sounded and intermittent like broken cable. Having spent time listening to Paul play. The economy, restraint and subtlety that he plays with fits almost within the subconscious of music in such a way that when he’s not playing everything sounds naked and vacant. There’s something here for these applications...
Somewhere along the way, creatives exploit and embrace the way that limitations of technologies impose themselves. Imposing their ways much like a collaborator would, a creative will often find themselves in a love/hate relationship that they can’t imagine living without. What is the reason that musicians still use tape-based echo devices in an age where digital is nearly technically 'perfect'?
Wow and flutter, limited fidelity, and distortion are the hallmarks of tape technology that were engineered out over time, but musicians still often prefer tape because it adds 'character' to their sound. So I got to thinking, “What are the artifacts of other antiquated technologies that have merit in a musical context? If David Byrne can find a way to use Powerpoint in an artistic way, why can’t we create a pedal that intentionally embraces technological limitations that musicians haven’t widely utilized?”
-Nicholas Harris
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, stutter, and glitch behaviors, it is pseudo-random, yet gives you a certain amount of “control” over the randomness.
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