#128

I have one. It’s a different version than the one in the picture, I have a store-limited edition in white that runs internally at 24v, with the old flipswitch rather than the dual stomp they added later. Looks like this:

bcast

Closest thing I have to an always on pedal, makes everything sound better. I tend to stack it with other pedals, don’t often use it on its own. The low cut is invaluable, surprised more pedals haven’t copied the idea. I use it mostly with guitar, been a while since I’ve tried it with other sound sources, can’t remember what I thought of it in other contexts.

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#129

Going to build this on both the Zoia and the Modular tonight! thanks for the link.

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#130

So it is that simple. I’ll definitely have to try this the next time I have a free block of synth time.

#131

thanks so much for your explanation, steve. i prefer your version than the dual one i posted.
definitely on my top5 wishlist devices ( next to the jhs colour box).

pug

#132

Just started playing with the feedback variant this morning. Interesting sounds. For some reason, if I don’t attenuate the CV in on my VCA, the sound cuts out.

#133

Would love to hear how that that worked out on the ZOIA.

#134

I just gave this a try and it is a hoot and a half. Thank you for sharing!

#135

One thing i’ve noticed lately is the richness of sending stereo signals into stereo distortion units. I have nothing against analog gear or guitar pedals, but for analog gear and traditional guitar pedal format distortion units stereo is the exception rather than the rule and i’m just a sucker for interesting stereo images. Two tools have captured me in this regard lately.

In hardware land Line 6 Helix let’s me run stereo line inputs (often from modular or volca fm) and quickly audition lots of different dirt stompboxes in stereo and layer back in the clean signal or another parallel distorted version, or both. Super fun, hands on, immediate, and dirt modeling sounds damn good these days (grew up playing low-end Digitech multiFX and even my naive ear at the time had a nagging sensation that something was seriously awry).

In software land, Izotope’s Trash 2 is more distortion than i’ll ever need outside of Ableton’s stock tools and is great for in depth pre/post EQ and convolution in a non-reverb context. It’s long enough in the tooth to be discounted at times, i think it came free when i bought another $3 plugin.

With distortion it seems harder to put yourself in a listeners perspective - maybe people don’t enjoy hearing destroyed acoustic drums or crushed DX7 marimbas but it never fails to bring me some joy.

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#136

One of the main things I’ve done with an Elektron Analog Drive pedal is put it on an aux send to mix in with various instruments as a sort of low-cost Analog Heat. The stock DX 7 organ sound in particular sounds lovely with some added crunch. The more spacey custom patches also get to new and interestingly mushy places with a touch of fuzz, as does the Juno 60 with some clean boost or at the heftier distortion settings.

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#137

For sure. The sweet spot is always in the wet/dry mix and the Analog Drive seemed to be a fascinating black sheep among Elektron’s offerings. The cleanliness of the DX7 balances so nicely with overdrive or fuzz which is why my volca fm (an underrated low polyphony dx7 with playable macro crontrols) occupies one of the two stereo line in returns on the helix. No judgement at all but it’s sort of funny to me and interesting from a sociological perspective that synth or sound processing-centric artists seem to be less drawn to modeling tools than traditional guitarists playing blues standards in 2019, despite modeling’s more modular and open nature. Perhaps it’s analogous to many synth pioneers embracing and expounding the virtues of plugins and in the box approaches.

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