Old Blood Noise Black ...

4.307,-

Black Fountain Stereo Characterful Delay Pedal Building on the inimitable Black Fountain, a pedal that put OBNE on the map and for many a favourite always-on device, Black Fountain Stereo is much more than just turning things from mono into stereo. It truly expands Old Blood Noise Endeavors' highly regarded ‘oil-can delay’ pedal right into a multi-tool. With a wider control set that’s complete with added sonic options, a lower noise floor, dual delay lines that play together in a multitude of ways, presets, MIDI and expression control over everything, Black Fountain Stereo combines a sonic powerhouse of creative delay tones and into a pedalboard friendly package. Main Features: Characterful ‘oil-can delay’ pedal Stereo input and output, with the option for Mono or Mono-in-Stereo-out routing Dedicated knobs to control Rate and Depth of modulation plus Tone and Grit of delay voicing Time and Subdivision controls for each delay line Additional controls for feedback, Wet/Dry Volume and Stereo Space Analog dry through Expression and MIDI control over all parameters MIDI clock I/O for external temp syncing Onboard Presets, plus control via MIDI Selectable Buffered Trails or True Bypass modes Top-mounted jacks and Soft-Touch Switching Hand-made in Oklahoma, USA Available in 3 Colourways - Cream (standard), Terracotta and Slate Powered by (opt.) 9 V DC PSU                (centre -, 2.1mm, ~ 350 mA current draw, not included) Black Fountain Stereo emulates the sound of a spinning oil-can delay. This is a warm, modulated and a little gritty type of tone that’s perfect for chorusing, doubling, slap back and long rhythmic delays alike. You choose the amount and rate of modulation, the tone and grit of the core voice, the two delay times and their feedback. Plus, to top it off the mono/stereo voicing of it all can be set exactly as you like and everything can be saved into presets, for easy recall. The Rate and Depth controls set the amount of modulation and speed, Tone shapes the warmth of the repeats, while Grit sets the amount of drive in the repeats. To help maintain the clarity of your tone or for more special effects, you can set the mix of volume of either the Dry and/or Wet levels. Space defines the mono delay mode or stereo width and adds diffusion past the noon position. Separate controls are available for setting the Left and Right Delay Time as well as being able to choose between six subdivisions for each side when holding the Tap footswitch. That little Tap switch (surprise) helps you set the delay repeats in time with your tempo, while holding it down will give for infinite feedback. Optionally, it can also be used as a preset switcher.

Old Blood Noise Black ...

4.307,-

Black Fountain Stereo Characterful Delay Pedal Building on the inimitable Black Fountain, a pedal that put OBNE on the map and for many a favourite always-on device, Black Fountain Stereo is much more than just turning things from mono into stereo. It truly expands Old Blood Noise Endeavors' highly regarded ‘oil-can delay’ pedal right into a multi-tool. With a wider control set that’s complete with added sonic options, a lower noise floor, dual delay lines that play together in a multitude of ways, presets, MIDI and expression control over everything, Black Fountain Stereo combines a sonic powerhouse of creative delay tones and into a pedalboard friendly package. Main Features: Characterful ‘oil-can delay’ pedal Stereo input and output, with the option for Mono or Mono-in-Stereo-out routing Dedicated knobs to control Rate and Depth of modulation plus Tone and Grit of delay voicing Time and Subdivision controls for each delay line Additional controls for feedback, Wet/Dry Volume and Stereo Space Analog dry through Expression and MIDI control over all parameters MIDI clock I/O for external temp syncing Onboard Presets, plus control via MIDI Selectable Buffered Trails or True Bypass modes Top-mounted jacks and Soft-Touch Switching Hand-made in Oklahoma, USA Available in 3 Colourways - Cream (standard), Terracotta and Slate Powered by (opt.) 9 V DC PSU                (centre -, 2.1mm, ~ 350 mA current draw, not included) Black Fountain Stereo emulates the sound of a spinning oil-can delay. This is a warm, modulated and a little gritty type of tone that’s perfect for chorusing, doubling, slap back and long rhythmic delays alike. You choose the amount and rate of modulation, the tone and grit of the core voice, the two delay times and their feedback. Plus, to top it off the mono/stereo voicing of it all can be set exactly as you like and everything can be saved into presets, for easy recall. The Rate and Depth controls set the amount of modulation and speed, Tone shapes the warmth of the repeats, while Grit sets the amount of drive in the repeats. To help maintain the clarity of your tone or for more special effects, you can set the mix of volume of either the Dry and/or Wet levels. Space defines the mono delay mode or stereo width and adds diffusion past the noon position. Separate controls are available for setting the Left and Right Delay Time as well as being able to choose between six subdivisions for each side when holding the Tap footswitch. That little Tap switch (surprise) helps you set the delay repeats in time with your tempo, while holding it down will give for infinite feedback. Optionally, it can also be used as a preset switcher.

Old Blood Noise Bathing ...

4.690,-

Bathing Liminal Delay Exploiting an algorithmic similarity, Old Blood Noise Endeavors unveils Bathing, a feature-rich pedal that features what the brand have named “Liminal Delay”. This effect is not just a classic delay, a modulation or even a multi-tap reverb. It is all of those things at once. Taking inspiration from OBNE’s “phase repetition” in their Dweller pedal, Bathing takes this difficult-to-describe effect and highlights all its magical features through a wide control set, low noise floor and an expansive stereo field. With features like MIDI, expression control and presets, to store and recall your favourite Liminal Delay sounds, Bathing allows you embark on a sonic adventure, only to then find it to be your new home. Main Features: • "Liminal" Delay pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Central Delay Time, Tone and Feedback • Additional controls for the number of Stages the delay passes through, including the Rate, Depth and Shape of the modulating character of those stages • Independent controls for dry and wet volume • Separate subtle Stereo Chorus control • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external temp syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Algae (standard), Orchid and Ink • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) The core sound of Bathing is determined by a central delay line, divided into many stages called “all-pass filters”. The Time control sets the central delay time. Use the Stages control to set the number of all-pass stages that the delay runs through, from anything between two to twelve stages. At shorter time settings, this increases the intensity of the phase/flange effect. At medium or longer time settings, more repeats are created both before and after the central delay time. Feedback sets the feedback of the delay, taking the output and feeding it back into the input. This can create longer trails and increased resonance. The Filter applies a combination of low pass and high pass filtering to the output of the delay, as well as the delay feedback loop, with the darkest sound to the left and the brightest sound to the right. The LFO affects the character of the delay repeats. When Time is very short, it acts like a modulation effect (think phaser or flanger). When Time is set longer, it moves anywhere from a single repeat at the central delay time out to a scattering of many diffused repeats around that time. In Mono-in, Stereo-out or full Stereo modes, the LFO is offset on the left and right to create a variety of stereo effects.

Old Blood Noise Bathing ...

4.690,-

Bathing Liminal Delay Exploiting an algorithmic similarity, Old Blood Noise Endeavors unveils Bathing, a feature-rich pedal that features what the brand have named “Liminal Delay”. This effect is not just a classic delay, a modulation or even a multi-tap reverb. It is all of those things at once. Taking inspiration from OBNE’s “phase repetition” in their Dweller pedal, Bathing takes this difficult-to-describe effect and highlights all its magical features through a wide control set, low noise floor and an expansive stereo field. With features like MIDI, expression control and presets, to store and recall your favourite Liminal Delay sounds, Bathing allows you embark on a sonic adventure, only to then find it to be your new home. Main Features: • "Liminal" Delay pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Central Delay Time, Tone and Feedback • Additional controls for the number of Stages the delay passes through, including the Rate, Depth and Shape of the modulating character of those stages • Independent controls for dry and wet volume • Separate subtle Stereo Chorus control • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external temp syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Algae (standard), Orchid and Ink • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) The core sound of Bathing is determined by a central delay line, divided into many stages called “all-pass filters”. The Time control sets the central delay time. Use the Stages control to set the number of all-pass stages that the delay runs through, from anything between two to twelve stages. At shorter time settings, this increases the intensity of the phase/flange effect. At medium or longer time settings, more repeats are created both before and after the central delay time. Feedback sets the feedback of the delay, taking the output and feeding it back into the input. This can create longer trails and increased resonance. The Filter applies a combination of low pass and high pass filtering to the output of the delay, as well as the delay feedback loop, with the darkest sound to the left and the brightest sound to the right. The LFO affects the character of the delay repeats. When Time is very short, it acts like a modulation effect (think phaser or flanger). When Time is set longer, it moves anywhere from a single repeat at the central delay time out to a scattering of many diffused repeats around that time. In Mono-in, Stereo-out or full Stereo modes, the LFO is offset on the left and right to create a variety of stereo effects.

Old Blood Noise Bathing ...

4.690,-

Bathing Liminal Delay Exploiting an algorithmic similarity, Old Blood Noise Endeavors unveils Bathing, a feature-rich pedal that features what the brand have named “Liminal Delay”. This effect is not just a classic delay, a modulation or even a multi-tap reverb. It is all of those things at once. Taking inspiration from OBNE’s “phase repetition” in their Dweller pedal, Bathing takes this difficult-to-describe effect and highlights all its magical features through a wide control set, low noise floor and an expansive stereo field. With features like MIDI, expression control and presets, to store and recall your favourite Liminal Delay sounds, Bathing allows you embark on a sonic adventure, only to then find it to be your new home. Main Features: • "Liminal" Delay pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Central Delay Time, Tone and Feedback • Additional controls for the number of Stages the delay passes through, including the Rate, Depth and Shape of the modulating character of those stages • Independent controls for dry and wet volume • Separate subtle Stereo Chorus control • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external temp syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Algae (standard), Orchid and Ink • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) The core sound of Bathing is determined by a central delay line, divided into many stages called “all-pass filters”. The Time control sets the central delay time. Use the Stages control to set the number of all-pass stages that the delay runs through, from anything between two to twelve stages. At shorter time settings, this increases the intensity of the phase/flange effect. At medium or longer time settings, more repeats are created both before and after the central delay time. Feedback sets the feedback of the delay, taking the output and feeding it back into the input. This can create longer trails and increased resonance. The Filter applies a combination of low pass and high pass filtering to the output of the delay, as well as the delay feedback loop, with the darkest sound to the left and the brightest sound to the right. The LFO affects the character of the delay repeats. When Time is very short, it acts like a modulation effect (think phaser or flanger). When Time is set longer, it moves anywhere from a single repeat at the central delay time out to a scattering of many diffused repeats around that time. In Mono-in, Stereo-out or full Stereo modes, the LFO is offset on the left and right to create a variety of stereo effects.

Old Blood Noise Sunlight ...

4.307,-

Old Blood Noise Endeavors Sunlight Stereo Modulated Reverb Pedal Combining elements of the popular Sunlight and Procession pedals, Old Blood Noise Endeavors is proud to introduce Sunlight Stereo, the latest in the brand’s upgraded lineup of modern classic sound machines. Focusing mostly on post-reverb processing and motion, Sunlight Stereo sends its reverb through a short delay, filter and volume control, with an LFO available to modulate any and all of those parameters. This helps to create more than reverb, with flanging, chorusing, moving filters and tremolo tones all on offer. Add a dynamic element, stereo processing, low noise floor, full MIDI control and presets and suddenly you have a reverb pedal that is unique yet versatile enough to add to your library of ambient machines. From bright, sharp and pulsing to percussive and even plain weird (moving literally and emotionally), Sunlight Stereo is a reverb pedal that’s sure to conjure up a wealth of imaginative soundscapes. Main Features: • The next evolution of OBNE’s Sunlight - Modulated Reverb Pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Decay Length, Envelope Functionality, Delay Time and Feedback, Filter Frequency, Dry and Wet volume, and Rate, Depth and Shape • Destination controls for the built-in LFO • Aux footswitch for tap tempo, indefinitely held trails, or preset switching • Expression and MIDI control over all parameters • Onboard Presets, plus control via MIDI • MIDI clock in and out for external tempo switching • Analog Dry-Through • Selectable Buffered Trails or True Bypass modes • Top-mounted jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 350 mA current draw, not included) By adding Stereo Input and Outputs via TRS, on-board Presets, Trails, Expression control over all parameters and MIDI control, this helps to give more versatility to the sound of Sunlight than ever before. In addition, the Dynamics control introduces moving elements to the reverb, such as LFO variation depending on signal strength at lower settings. When set above noon, additional dynamic elements are introduced to the Reverb and only signals above a certain threshold are let in, meaning the decay of the reverb is decreased at the same time, to clear out existing trails. Essentially, the further you crank up the Dynamics, the more the threshold is increased, requiring louder signals to enter the reverb. You can tune this to the specific strength of your instrument and playing style, in order to create dynamic pads with Decay all the way up. The Sunlight’s Aux footswitch can be customised for momentary or latching effects, like tap tempo, infinite sustain, reverb hold or preset switching, providing flexible creative control at your feet. Save and switch between three unique on-board presets, with clear LED indicators and use the Expression Jack for hands-free dynamic control over any parameter. Adding to the pedal’s extensive flexibility, Sunlight Stereo is fully MIDI compatible, with presets being selectable via Program Change messages as well as all parameters being accessible and controllable via CC. With both Mono and Stereo routing options, plus selectable True-Bypass or Trails modes, Sunlight offers a comprehensive blend of both intuitive and advanced features for musicians that are looking to sculpt their own immersive sonic landscapes.

Old Blood Noise Sunlight ...

4.307,-

Old Blood Noise Endeavors Sunlight Stereo Modulated Reverb Pedal Combining elements of the popular Sunlight and Procession pedals, Old Blood Noise Endeavors is proud to introduce Sunlight Stereo, the latest in the brand’s upgraded lineup of modern classic sound machines. Focusing mostly on post-reverb processing and motion, Sunlight Stereo sends its reverb through a short delay, filter and volume control, with an LFO available to modulate any and all of those parameters. This helps to create more than reverb, with flanging, chorusing, moving filters and tremolo tones all on offer. Add a dynamic element, stereo processing, low noise floor, full MIDI control and presets and suddenly you have a reverb pedal that is unique yet versatile enough to add to your library of ambient machines. From bright, sharp and pulsing to percussive and even plain weird (moving literally and emotionally), Sunlight Stereo is a reverb pedal that’s sure to conjure up a wealth of imaginative soundscapes. Main Features: • The next evolution of OBNE’s Sunlight - Modulated Reverb Pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Decay Length, Envelope Functionality, Delay Time and Feedback, Filter Frequency, Dry and Wet volume, and Rate, Depth and Shape • Destination controls for the built-in LFO • Aux footswitch for tap tempo, indefinitely held trails, or preset switching • Expression and MIDI control over all parameters • Onboard Presets, plus control via MIDI • MIDI clock in and out for external tempo switching • Analog Dry-Through • Selectable Buffered Trails or True Bypass modes • Top-mounted jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 350 mA current draw, not included) By adding Stereo Input and Outputs via TRS, on-board Presets, Trails, Expression control over all parameters and MIDI control, this helps to give more versatility to the sound of Sunlight than ever before. In addition, the Dynamics control introduces moving elements to the reverb, such as LFO variation depending on signal strength at lower settings. When set above noon, additional dynamic elements are introduced to the Reverb and only signals above a certain threshold are let in, meaning the decay of the reverb is decreased at the same time, to clear out existing trails. Essentially, the further you crank up the Dynamics, the more the threshold is increased, requiring louder signals to enter the reverb. You can tune this to the specific strength of your instrument and playing style, in order to create dynamic pads with Decay all the way up. The Sunlight’s Aux footswitch can be customised for momentary or latching effects, like tap tempo, infinite sustain, reverb hold or preset switching, providing flexible creative control at your feet. Save and switch between three unique on-board presets, with clear LED indicators and use the Expression Jack for hands-free dynamic control over any parameter. Adding to the pedal’s extensive flexibility, Sunlight Stereo is fully MIDI compatible, with presets being selectable via Program Change messages as well as all parameters being accessible and controllable via CC. With both Mono and Stereo routing options, plus selectable True-Bypass or Trails modes, Sunlight offers a comprehensive blend of both intuitive and advanced features for musicians that are looking to sculpt their own immersive sonic landscapes.

Old Blood Noise Sunlight ...

4.307,-

Old Blood Noise Endeavors Sunlight Stereo Modulated Reverb Pedal Combining elements of the popular Sunlight and Procession pedals, Old Blood Noise Endeavors is proud to introduce Sunlight Stereo, the latest in the brand’s upgraded lineup of modern classic sound machines. Focusing mostly on post-reverb processing and motion, Sunlight Stereo sends its reverb through a short delay, filter and volume control, with an LFO available to modulate any and all of those parameters. This helps to create more than reverb, with flanging, chorusing, moving filters and tremolo tones all on offer. Add a dynamic element, stereo processing, low noise floor, full MIDI control and presets and suddenly you have a reverb pedal that is unique yet versatile enough to add to your library of ambient machines. From bright, sharp and pulsing to percussive and even plain weird (moving literally and emotionally), Sunlight Stereo is a reverb pedal that’s sure to conjure up a wealth of imaginative soundscapes. Main Features: • The next evolution of OBNE’s Sunlight - Modulated Reverb Pedal • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Dedicated knobs to control Decay Length, Envelope Functionality, Delay Time and Feedback, Filter Frequency, Dry and Wet volume, and Rate, Depth and Shape • Destination controls for the built-in LFO • Aux footswitch for tap tempo, indefinitely held trails, or preset switching • Expression and MIDI control over all parameters • Onboard Presets, plus control via MIDI • MIDI clock in and out for external tempo switching • Analog Dry-Through • Selectable Buffered Trails or True Bypass modes • Top-mounted jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Powered by (opt.) 9 V DC PSU (centre -, 2.1mm, ~ 350 mA current draw, not included) By adding Stereo Input and Outputs via TRS, on-board Presets, Trails, Expression control over all parameters and MIDI control, this helps to give more versatility to the sound of Sunlight than ever before. In addition, the Dynamics control introduces moving elements to the reverb, such as LFO variation depending on signal strength at lower settings. When set above noon, additional dynamic elements are introduced to the Reverb and only signals above a certain threshold are let in, meaning the decay of the reverb is decreased at the same time, to clear out existing trails. Essentially, the further you crank up the Dynamics, the more the threshold is increased, requiring louder signals to enter the reverb. You can tune this to the specific strength of your instrument and playing style, in order to create dynamic pads with Decay all the way up. The Sunlight’s Aux footswitch can be customised for momentary or latching effects, like tap tempo, infinite sustain, reverb hold or preset switching, providing flexible creative control at your feet. Save and switch between three unique on-board presets, with clear LED indicators and use the Expression Jack for hands-free dynamic control over any parameter. Adding to the pedal’s extensive flexibility, Sunlight Stereo is fully MIDI compatible, with presets being selectable via Program Change messages as well as all parameters being accessible and controllable via CC. With both Mono and Stereo routing options, plus selectable True-Bypass or Trails modes, Sunlight offers a comprehensive blend of both intuitive and advanced features for musicians that are looking to sculpt their own immersive sonic landscapes.

Old Blood Noise Parting ...

4.299,-

Parting Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

Old Blood Noise Parting ...

4.299,-

Parting Glitch Delay/Reverb Crushing Modulation Device In creative collaboration, harpist Emily Hopkins and experimental effect makers Old Blood Noise Endeavors are proud to announce Parting, a new musical device with a curated suite of effects inspired by their favourite glitch, signal crushing, and ambient sounds. One central knob crushes the signal or sends it into reverse, while knobs to its left control a selectable modulation and knobs to its right control a chance-based or envelope-controlled glitchy delay that you can smear into a reverb. Everything interacts with various layers of chance-based clock-changing randomness to create a box of pleasant surprises. Main Features: • Glitch Delay/Reverb Crushing Modulation Device • Stereo Input and Output, with the option for Mono or Mono-in-Stereo-out routing • Aux footswitch for tap tempo, half clock speed, or preset switching • Dissolve control with two functions, below noon for reduced sample rate, above noon for increasingly degraded reverse signal • Analog Dry-Through • Expression and MIDI control over all parameters • MIDI clock I/O for external tempo syncing • Onboard Presets, plus control via MIDI • Selectable Buffered Trails or True Bypass modes • Top-mounted Jacks and Soft-Touch Switching • Hand-made in Oklahoma, USA • Available in 3 Colourways - Green (standard), Purple and Stone • Powered by (opt.) 9 V DC PSU (centre -, 2.1 mm, ~ 350 mA current draw, not included) Parting is a box of pleasant surprises. Moments of chance will give bursts of a glitch delay that can smear into a reverb, modulated by tremolo or vibrato, filtered, and, most importantly, dissolved into lo-fi aliasing or stretched out reverse. All of this may jump around in halves and octaves of itself - it’s up to you and Parting, together.

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