Notes: Crystal-clear clock-synced delay for loop up to 90 seconds, echoes, sound-on-sound, Karplus-Strong etc.
Features:
Loop or echo time is synchronized to a clock
87 seconds of delay/loop time maximum
48kHz/24-bit sampling rate, loop recorded at 16-bit (24-bit optional)
Extremely quiet, low noise and low jitter design
Tap tempo button and clock Ping input set the basis for one "beat"
Delay/loop time set as a number of musical beats (or fractions of beats) using the Time knob, switch, and CV jack
Sample-accurate clock output for perfect synchronization
Loop clock outputs for each channel
Time switches change range of Time knob from 1/8th notes up to 32 bars
Digital feedback, up to 110%
Delay Feed control, independent of dry/wet signal mix
Infinite Hold mode disables recording input and fixes regeneration at exactly 100%
Reverse mode plays memory contents backwards
With an infinite loop locked, knobs or CV can "window" around memory, by shifting the loop
Trigger inputs for toggling Infinite Hold and Reverse
Send and Return for applying effects to feedback with external modules
CV jacks to control Time, Level, Feedback and Dry/Wet Mix
16HP Eurorack module
Specs:
48kHz, 24-bit low-noise hi-fidelity
Up to 90 seconds of loop time
16HP
+12V: 110mA
-12V: 45mA
Included with the Looping Delay:
16-to-16 pin power cable
4 x M3 Knurlie screws
Review: Beijing based Leele, Tokyo based S.O.N and Detroit transplant Camille has come together to give you something soothing from Adeen records. Their debut live studio album A Band Of Brothers is a nice warm welcome from the label that's known for house and techno. The late 70's early 80's Japanese fusion jazz influenced offering is split into two discs with one being all jazz, and disc two being remixed into breezy house tracks. Rather is an easy chilled out vibe or a night on the dancefloor, A Band Of Brother got you covered for all occasions.
Review: A credible eyewitness is arguably nonexistent; all narrators are unreliable in some way. But the ACEW label boss who bears the name makes a worthy attempt to justify it, laying down four killer downtempo dreams of the tongue-in-cheek, driving kind. 'Hypnotik' was clearly made with the aim to mesmerise in mind: 'Waz Up' and 'Sexy Waz' logically follow each other as snake-charming pendulum-swinging coldwave-chug trances to make up the A-side, while the B's 'Following' and 'Subreal' raise the pace again, deftly working illusory melodies round strangled electro workouts.
Review: Horace Andy dropped one of his most well-known cuts back in 1987. It's a lovely rootsy dancehall skank in the form of 'What A Problem' that he produced himself alongside Michael Taylo and Andy Bassford. His mic work is exceptional as he twists and turns his vocals to ride on top of the drums and deliver his message with style and grace in his textbook smooth vocal tone. The version on the flip drills down into darker and more gritty dancehall vibes with the fat bassline front and centre next to plenty of echo and reverb.
Review: Baby Buddha was Charles Hornday, David Javelosa, Meg Brazill and Todd Rosa, a band that released just one album in 1981 then a second in 1987. Their debut is a cult classic that brought new ideas to the world of no wave and synth, electro and rock. With its chilly minimal computer beats and post-punk vocal deliveries, it makes for a still future-sounding world of sound that is danceable and atmospheric as it covers classics like 'Stand By Your Man' and 'All Shook Up' in a hugely idiosyncratic fashion. This is weirdly wonderful, playfully scary and artfully DIY music that manages plenty of reference points and ends up sounding like nothing else.
Review: The highest selling album from reggae-tinged hardcore punk pioneers Bad Brains arrived courtesy of SST Records in 1986, and marked the band's further decimation of genre parameters. Following on from the major success of their refined sophomore endeavour Rock For Light, which cherry-picked some of their preceding self-titled debut LP's strongest cuts to re-record under the tutelage of The Cars' late, great Ric Ocasek, by the time it came to enter the studio to lay down what would grow into the iconic I Against I, the band had begun to embrace more outsider influences from the realms of soul, r&b and even funk metal; all genres that would inform the sonic makeup of their third full-length. With the title-track covered from everyone from Jeff Buckley to Lamb Of God to Denzel Curry, the utter sonic fearlessness exuded throughout scoffed in the face of hardcore purists who lambasted the effort upon release, while its insidious influence can still be heard today from Rage Against The Machine all the way up to hardcore's modern day flag flyers Turnstile.
Review: The seemingly unstoppable rise of De:tuned continues, as they take a break from serving up sci-fi techno, IDM and ambient techno to deliver something a lot more intense: a surprise EP from original House of God Birmingham resident DJ Paul 'Damage' Bailey. Channeling the spirit of his friend Surgeon while offering up something fresh, the two original tracks on show are undeniably inspired. 'Hadal Zone' adds weirdo noises, bleeps and mind-mangling electronic pulses to a slipped Afro-techno groove, while 'Decompression' is a wonky, triple-time workout full of Ket-addled electronics and wayward loops. Makaton re-imagines that track as a locked-in late-night techno throb-job, while James Ruskin turns 'Hadal Zone' into a buzzing, industrial-influenced electro-bleep number.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.