ADG Old Blood Noise Endeavours Launches Bathing – Liminal Delay Pedal
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.
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Source: musicinstrumentnews.co.uk
