#44

I’ve never used the hardware Biscuit, so I’m not sure if it’s exactly the same, but the UAD/Softube plug-in version has really nice pitch-shifting and delay integrated.

my gripe is that it’s SO lo-fi that it’s hard to be too subtle with it. but 12-bit definitely has a much wider sweet spot than 8-bit, and lots of the 80s gear mentioned has very characterful A/D/A and accompanying analog stages. so, this is all very encouraging!

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#45

I cant think of any other manufacturer that I would insta buy anything from. Thankfully they only release new things every few years… Dont own a Biscuit but used one for a fair bit and while it was fairly rad sounding I thought it wasnt an essential item at its collectors price unlike BIM BAM BOUM has been for me. Real bread and butter stuff with plenty of weirdness in between. I honestly dont hear anything desirable in any of the other modern digital fx which sound like an overloaded sandwich where everything is spilling out. At some point down the line I would love to get some lexicon and ursa major in my life…one of my gear regrets is almost picking up the SST 206 but I bought a dumb digital camera instead :pouting_cat:

#46

I just picked up a BOUM last week to complete the trifecta along with BIM and BAM and I will be insta-buying whatever Denis unveils next. I also heard that it could well be his take on a sampler.

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#47

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#48

Almost certain it will be a multi effect with selected bit reduction emulating the filtering and degradation of old samplers vs being an actual sampler. (Opinion , but I think most likely , might even be more than one box)

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#49

I love my BIM and BAM (although, believe it or not, if I had to choose one, it would be the BIM), but I am sort of on the fence about the BOUM. I have an analog heat, which is… probably better for it’s stereo filters than it’s distortion/fake compression, but I pair that with an old drawmer compressor and I’m pretty happy. Is it worth it for someone who already has that setup?

I feel like whatever the next product is that might be more of draw for me than BOUM.

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#50

I have BIM and BAM, love them and use them on basically everything (especially BAM).

So you guys say I should get the BOUM as well?

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#51

The BOUM is probably the hardest to justify IMO.

I’ve found after using it on the end of my chain for EVERYTHING over the last 6 months, it’s justified it’s worth.

I pretty much only use the Boost/Tube settings on the regular. The other ones I’ll use in more extreme or experimental cases but it’s often doing very little.

The 5% it adds is a very important 5% though :black_heart:

It’s worth reading the manual to see the internal signal flow too. The more you learn how it’s all connected, the more you can dial in the sweet spots!

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#52

I haven’t really looked too deep into BIM. I feel like I have a lot of capable stereo delays. What would users say sets BIM apart from something like an Eventide Timefactor?

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#53

I don’t have a lot of experience with the Timefactor, so maybe not really that much?

the 12-bit conversion sounds awesome (I use the thing in pass-thru mode a surprisingly large amount), the tap tempo can give you some really awesome weird effects when you try to take it into super fast speeds (it can turn into a bitcrush effect or some other weird stuff depending on the mode you’re in).

having different wave shapes for the lfo (including s&h) can get you into some wild territory as well, but mostly it’s just a really nice sounding delay. don’t think it’s doing something that is so unique.

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#54

the character ADAC and filter. A time factor is a pristine amazing delay. But BIM is a 12 bit delay based on vintage delay units. I’d view them as something like a Minimoog vs Virus. Both great , but at different things. Id get it personally to expand my tool belt to enhance the song or experience depending on what you need at the time. Its good to have options.

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#55

Yeah its like…BIM and BAM sound wet…like properly wets the sound…that it sticks onto the source sound is the only way i can describe it. It does not sound like ive put some effect…it sounds like the sound, but more animated and with more depth. And it maintains this even when your really messing up the sound…

The boum tbh it gets the least use from me…but its always great when I do use it…I like using it with slight boost and extreme inverted settings with the compressor. Its sonics and form factor is what makes it a keeper for me. It does the job but for master bus I would rather something higher end with more subtle control

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#56

Agree with @karst–the 12 bit ADAC, plus the analog stages/compander make the BIM a compelling delay that imparts a certain vintage feel. OTO gets a lot of things right about EQ of inputs, outputs, and feedback loops, and overall control of parameters. Denis/OTO is going for a late 70’s/early 80’s vibe at the core of all his boxes, and it’s a consistent, rich vision. With the set, you get fx that work beautifully together, and a consistent set of interfaces that makes performance and recording easier. I like buying groupings of gear from the same maker when there’s a clear vision that aligns with the music I aspire to make.

But it’s just one path to achieve a certain kind of sound, so a lot depends on what you already own and works well for you. Before I got the set, I didn’t have any outboard effects (only modular fx), and I wanted effects for the sends and master bus that would complement the SSL Six–with it’s modern studio EQ’s, and compressors. Not much overlap between the G-series bus comp in the Six and the Boum.

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#57

In my universe
1)timefactor sounds cold, BIM sound warmer. Especially with lpf/hpf and gain. Gain on BIM is a very musical instead of many other pedal with drive section. Both pedals better sound better with attenuated signal from modulars.
The colour of repeats is the main plus for a pedal. It’s not cheesy color feature, its a thing that turns effect into instrument. Many vintage thins has this mojo - tape, bbds, early digital, many modern sound like the same:)

2)timefactor better mix the wet/dry signal. Both oto pedals that i have - bim and bam have some discrete mix positions like 0-30-50-80-100. If you use them in aux - it’s not a problem. Eventide put dry signal through digital circuit and maybe it helps.

  1. i really like interface. You need some time to find sweet spots in bim but there are also some unique sounds that are found during finding the sound what i want to achieve
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#58

Thanks for that perspective. I really do love the form factor and sound of the OTO boxes.

I’m super interested to see where they go next.

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#59

I bet it will be harmonizer based on h910 and other 70-80 pitch/pitch-delay devices

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#60

I’d also add that the passthrough mode allows you to impart a vintage character to newer gear. I used it to process all of my newer synths on this 80s soundtrack album I did. While it doesn’t sound like my lexicon PCM-41, it sounds like it’s from the same era and compliments it. I used BIM to create the really nice (to my ears) warble in this song:

It’s all over my last several albums, but it’s on basically every instrument here. One thing I’d warn people about is the lo-fi mode can add some annoying crackling to bass-heavy stuff. I’ve had a hard time getting rid of that on some recordings.

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#61

That would be amazing. I would scoop that up in an instant. I can see it, as it’s one of the few areas he hasn’t covered.

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#62

i just got a new BAM in the mail from Schneidersladen, but much to my consternation they sent a EU PSU - I’m in the states. Anyone have any suggestions on getting the correct adaptor piece for it?

#63

It would be pretty natural to receive an EU adapter from a European retailer. Any travel adapter will do, and DC supplies typically don’t care about voltage so you should be all set. Equally likely to work with another DC supply provided that you check polarity.

Worth the minor inconvenience for a wonderful unit.

P.s. I think those units used to come with modular adaptors, can anyone else confirm?