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Manual

Roger That

A state-variable filter with wide range and application. Versatile. Combining tilt and notch/boost equalization around a 2nd-order (-12dB/octave) state-variable core.

Very much a one-band parametric equalizer with gritty extras:

Shelving filter, from low-pass to high-pass
CV inputs for resonance (Q) and frequency (F)
V/octave scaling synthesizer interface
Fully variable Q goes well into tasty sweet self-oscillations
Soft clip zener zesty mordant
Expression pedal input controls center frequency

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Demo by Cyberattack

Review by Pedal of the Day

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Review by reddit /guitarpedals

Long Life

Reminisce about the time you got your shoulder caught in the reciprocating saw while this unit destroys your slick jazz lines. 

The fruit of an oddball circuit, hanging there awkwardly by some parasitic effect. Tweaked, bended and shoe-horned to optimize it's stench, it's unpleasance. Time has come to turn all dynamics to shit. Strangely, it feels very natural.

Review by musicradar

Review by guitar moderne

Demo by Noise Generator

The Unpleasant Surprise

Meet Maude
Analogue Delay

Imparting a dark and tape-like quality to your sound, this analogue delay offers a rich and distinct character for you to wallow in luxury, self-righteousness and filth.  

Using the tone and feedback controls, you can shape your repeats to be much more than simple reproductions of the input. Play right on the threshold of feedback, which you can mold as a low thundering growl or screeching wail, or let your echo slowly die out as the dynamic output filter gets darker every repeat.

A random delay time modulation adds a true tape feel to the delay, like a reel-to-reel motor spinning not quite perfectly. Full CV capabilities allow you to control delay time and/or feedback with any external source, like an expression pedal.

Review by Waveform Magazine

Meet Maude

As you wait for the next tray of free food on platters held by white gloves, notice the contrasts that emerge from the hunger and tensions within the space. Will we remember what it takes to keep us here?

Indeed, causality breaks down when feedback loops are involved. The effect nestled within the cause, without cause, and so on. There is no beginning or end, at least objectively. And so, who eats the last hors d'œuvre, when time is space and silence is noise

The Hors d'Oeuvre? Active Feedback Loop then serves different opportunities to create and listen to: bipolar feedback of any combination of sound processing devices, and signal difference of input and return signals.

It is intentionally an introduction.

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