logically after the distortion.
My intuition was bang-on.
Even with extreme amounts
of gain, the 30ms never
flattened out or became too
whooshy and obvious. This
is perhaps due to its more
subtle and unpredictable
pitch deviations Keeley
painstakingly fine-tuned into
the control set.
at noon, so I decided to
simulate a vintage tape
flange by scaling the time
back to 5ms and turning
the rate down to a crawl.
What I ended up with was a
phosphorescent flange-like
tone reminiscent of Metal
Box-era Keith Levene. Ace.
Switching to the Slapback
setting and configuring the
Starting in Dimension mode internal dipswitches for
Double Track Pro mode, I
with everything at noon, I
bypassed the reverb in favor
played a clean arpeggiated
cyclical riff and engaged the of full control of the two
voices. I then jacked into
pedal. A pure warm halo of
inputs one and two of my
movement surrounded my
audio interface with a TRS
tone that was silky without
cable and hard panned them
ever getting caught in the
in my DAW sent to two
sickly chorus hairnet of
sticky 80s stigma. Turning up Marshall plug-in emulators.
I was immersed in stereo
the “Abbey Verb” revealed
slapback glory with the two
a roomy echo with some
pre-delay and diffusion. This independently detuned
was great for an unobtrusive voices simultaneously
speaking in liquid tongues,
ambience that maintained
wetting each side of my
the subtle overall approach
brain with inspiration.
of the pedal. Switching to
the dirt channel with these
WHAT WE LIKE
same settings released a
The idea of a studio-in-atide of Permanent Waves.
stompbox is fresh. While the
This distorto-chorus was
Keeley 30ms ADT doesn’t
similar to vintage Alex
offer FR6GW&F