I’m not super blown away by it, but I’m going to give it some more time. I might relegate it to my upstairs rig (acoustic/electric with no computers) because it might be more fun with my fretless bass or mic’d mandolin than with synths. On the other hand, I made a fun drone track the other day using its feedback as a source for Rings.
It’s a little bit cantankerous. The wet/dry level knobs seem to interact with each other and have a kind of nonlinear, unpredictable response for instance, and the modulation amount doesn’t feel consistent depending on other factors.
The delays seem way too dark for some material, but works well for other stuff. There’s a nice dirty quality to the delays at longer lengths, and the feedback can sound pretty great. Of course the modulation adds a lot to the character, but I’ve got some lovely modulated delay plugins I like to work with.
As for the fuzz… I’ve really been using fuzz less than saturation or other distortion lately, and throwing a lowpass filter after it when I do. I’m inclined to just leave it turned off, but it deserves a little more exploration.
I was kind of hoping Caves would quell my GAS for an RM-1N, but it’s really nothing like that 