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Catalinbread CSIDMAN Glitch Stutter Digital Delay 数字延时 单块效果器

CSIDMAN 是一个功能不凡的数字延时效果器,除了一般延时单块的时间,混合比反馈等功能,它还提供了闩锁功能,可以将延时片段如卡在一个时间容器里,而你可以控制这个片段的重放。

  • 型号: CSIDMAN
  • 价格: 1617
  • 产地: 美国

图片关键词

图片关键词

Catalinbread CSIDMAN Glitch Stutter Digital Delay 数字延时 单块效果器

CSIDMAN 是一个功能不凡的数字延时效果器,除了一般延时单块的时间,混合比反馈等功能,它还提供了闩锁功能,可以将延时片段如卡在一个时间容器里,而你可以控制这个片段的重放。

操控:


TIME :控制延迟时间,最长可达725mS

MIX :干湿渲染度,可以控制从100%湿到100%干。

FEED:控制反馈量。

CUTS :剪切(与LATCH 闩锁钮一起使用)控制缓冲存储器的长度。

LATCH :闩锁控制。当完全逆时针时,它不会跳过,允许您使用踏板作为传统的数字延迟。当顺时针方向满时,该单元被卡在重复缓冲存储器中的任何内容。在12点,这个旋钮是跳过播放状态和非跳过采样状态之间的50/50平衡。



供电:

   标准DC9-18V 正极  ,9V下工作电流为60ma


演示视频:

原文介绍:

Features

  • TIME Controls the echo delay line’s delay time up to 725mS, as well as the rate of the glitch.

  • MIX Gives you control over the wet/dry balance from 100% wet to 100% dry.

  • FEED Controls the amount of feedback going back into the unit.

  • CUTS (used in conjunction with the LATCH knob) controls the buffer memory length.

  • LATCH controls the relative time in a cycle that the CSIDMAN is in a latching skipping state. When full counterclockwise, it doesn’t skip, allowing you to use the pedal as a traditional digital delay. When full clockwise, the unit is stuck repeating whatever is in the buffer memory. At noon, this knob is a 50/50 balance (though random) between a skip-playback state and non-skip sample state.

Yes, it's digital. Did I stutter? What are the artifacts of antiquated technologies that have merit in a musical context? Why can't we create a pedal that intentionally embraces technological limitations that musicians haven't widely utilized?


I see technology as the optimistic push through the limitations of existing paradigms: limitations in materials, processes, functionality, cost, and foresight. With each spearhead of technology, the limitations of incumbents are resolved. All too often, a slew of new issues are introduced that the marketplace is willing to overlook, at least for a short period of time. It isn’t too long before the marketplace demands better, and is willing to abandon the past and pay for the next-generation solution.

So I got to thinking, “What are the artifacts of other antiquated technologies that have merit in a musical context? If David Byrne can find a way to use Powerpoint in an artistic way, why can’t we create a pedal that intentionally embraces technological limitations that musicians haven’t widely utilized?”


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