![]() But the DOD is still nothing as wild sounding as the Spectre. The only one I have that comes kinda close is the DOD Performer Flanger 575, just because it has a thick tone that most lack. But the real trick is that it kicks ass over every flanger pedal I've heard, and I own a lot of them. It's closer in tone to my (kinda broken) Eventide Instant Flanger FL201 (check out their plug-in version) or the UAD MXR flanger/doubler plug-in (I've never used a real one). How does the Spectre sound? It's much more overt and interesting than any piece of rackmount gear I've ever used. This type of effect is commonly called a "zero-through flanger," because it allows its two delayed signals to repeatedly "cross through" the point where they are at the exact same amount of delay (the "zero point"), much like using two tape decks as explained above. The Chase Bliss Audio Spectre, on the other hand, uses two analog bucket-brigade delay lines to actually create a full flanging effect in a stompbox, and I love it. This means that the modulated signal can never precede the dry signal, so to my ear, these units only have half the effect of true flanging. With most studio and stompbox flangers, the effect is created with a delayed and modulated (for the wobble and whoosh) signal combined with the dry signal. One of the points I kept making was that the two tape decks were both playing back a slight bit wobbly and out of sync therefore, the signals from the two decks were each taking turns being ahead or behind the other, thus creating the richest possible flanging sound. Probably 80% of my attempts created echoes instead of flanging, but when it hit, we all gasped. We added it to our list of the Best Glitch, Stutter and Granular Pedals.I was asked to demo real flanging for some friends a while back, so I recorded the same material onto two tape decks and attempted to play them back at the same time, to create the rich, whooshing, comb-filtering of flanging at its best. You can find out more about the Chase Bliss Audio MOOD in the videos below. Is internally collaborative, allowing audio to freely pass back and forth between its two sides, evolving and transforming over time.Īs for all Chase Bliss pedals, the amount of tweak offered is borderline infinite, but the main feature here is in the way the two channels are routed, which can happen in three different ways. The M O O D is a continuation of the series of collaborative designs the Minnesota-based company started releasing in 2018 (previous collaborations included products with circuits by Keeley and Benson) for this pedal, owner and chief designer Joel Korte reached out to the folks at Old Blood Noise, who took care of the suite of live spatial effects in the pedal’s Wet Channel, and also to Belgian designer David Rolo from Drolo FX, who designed the Loop Channel.Ī stompbox that belongs squarely in the category of experimental devices for sound explorers, the M O O D is presented as a “study in interaction,” which: While the folks at Chase Bliss Audio were publicly working on two ambitious projects (the automatic-fader-driven Preamp MkII and the uber-documented looper Blooper) they were also secretly designing a new two-channel granular micro-looper called M O O D, which they unveiled today () through a video of their favorite Toronto videographer Knobs. ![]()
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