1/28/2024 0 Comments Wavebox pedalFrom simply speeding up the delay time for those classic ‘tape-ramp’ tones, to getting an infinite regen/freeze sound to fill an expansive space. A different mapping can be saved to each preset. All knobs can be mapped to the expression pedal with a custom sweep for each one. The sounds and possibilities can be limitless when you plug in an expression pedal to the Discovery. You can even change the waveform of your modulation from triangle, sine and square waves. The Modulation control on Discovery allows you to capture the warble and flutter of a vintage analog delay, as well as give you the ability to get a modern space-aged chorus, all the way to classic Leslie-style speed shifts. This will take you from thick, full delay fatness to the crisp, high-end of a dub-style echo. With the Lo-Cut and Hi-Cut knobs, you can shave off bass or treble from your repeats. The Filter Section of the Discovery gives you utmost control to shape where your delay sits in the mix of your overall sound. 127 savable presets, allow you to save your favorite sounds and settings and recall them at the drop of a hat when using the Bypass and Tap-Tempo to instantly recall your presets. With an intelligent Tap-Tempo that averages your last four taps, the Discovery Delay can help you really nail your tempo. Retaining the tone, vibe, and creative inspiration of iconic analog delay units, yet adding the versatility of the most modern and expandable delay pedals available today.īuilt on 4 reissued versions of the MN3005 Bucket Brigade analog delay chips, Suhr sought out to achieve what no other analog delay on the market could, the ability to shape and control your delay in any way you wish. That obvious omission aside, Wave Box packs a wealth of quality waveshaping into an intuitive, musical plugin at a great price.The SUHR DISCOVERY Analog Delay pedal is a revolutionary pedal, designed by Kevin Suhr. We’re perplexed by the glaring lack of a filter, though, as even a simple low-pass model would surely prove enormously useful, not just for reining in the plugin’s wonderful but frequently ear-shredding excesses, but also as a target for creative modulation. Of course, modulation is key to the whole - ahem - thing, with the LFOs bringing the rhythm and the envelope follower ideal for toughening up transients in drum tracks, adding bite to basslines and guitars, rounding off peaky signals and so on. With Asymmetrical mode generating even harmonics and Symmetrical mode generating odd harmonics, the difference in results between the two is profound and experimenting with Curve combinations opens up a huge range of distortion flavours, from gentle presence enhancement to industrial-scale decimation. ![]() Wave Box not only sounds wicked but also demonstrates impressive versatility, despite its apparently straightforward architecture. Parallel processing is on hand via the Mix knob, while the Hard Clip button kicks in a limiter, and up to 16x oversampling (for balancing aliasing with CPU hit) can be activated using the four multiplier buttons.įinally, AudioThing’s ever-present randomisation system lets you scramble all parameters at the click of a button, with the option to render individual controls immune by locking them. In the Master section of the interface, the Input knob dials in attenuation or up to 12dB of overdrive, and the Out knob ranges covers the same range at the other end of the signal flow. Between them, they enable plenty of rhythmic and input-driven distortion design, but they’d be even better with the addition of the Mix parameter to all three Destination menus, and LFO Rate and Depth to that of the Envelope Follower. Both LFOs offer all the usual waveforms (including Random), adjustable phase, synced timings from 4 bars to 1/32T, and unsynced speeds up to 2kHz.Īll three modulation sources are bipolar and share the same menu of Destination targets: Curve 1, Curve 2, Bias and Ceiling. The Envelope Follower tracks the input signal and outputs a modulation signal based on its amplitude at any given point, with Attack (1-500ms) and Release (1-1000ms) controls governing onset and disengagement. Wave Box’s waveshaping sounds awesome on its own, but it’s really intended to be modulated by the onboard envelope follower and two LFOs.
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