New Catalinbread CSIDMAN Stutter Glitch Delay Guitar Effects Pedal
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From Catalinbread:
Yes,
it’s digital. did I stutter?
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. Within a
period of 125 years we’ve seen the evolution of recorded media go
from wax cylinder phonograph, to tape, to digital.
Somewhere
along the way, creatives exploit and embrace the way that limitations
of technologies impose themselves. Imposing their ways much like a
collaborator would, a creative will often find themselves in a
love/hate relationship that they can’t imagine living without. What
is the reason that musicians still use tape-based echo devices in an
age where digital is nearly technically “perfect”? Wow and
flutter, limited fidelity, and distortion are the hallmarks of tape
technology that were engineered out over time, but musicians still
often prefer tape because it adds “character” to their sound. 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?”
I
was first introduced to glitch/stutter effects through that
ridiculous Jonny Greenwood video a number of years ago. For years in the back of
my head I puzzled over an application for such musical cacophony. I
mean it is an over the top freakout for peak climactic moments in a
performance where the music seems that it cannot rave-up any further.
Cool,
that’s a one trick pony, right? Well, not at all. It came together
when I realized the potential for this sort of effect to dice up
familiar gentle sounds, in an uncomfortable yet beautiful way. I was
reminded of an effect my friend and guitarist Paul Rigby (Neko Case,
Garth Hudson) asked me for, something that sounded and intermittent
like broken cable. Having spent time listening to Paul play. The
economy, restraint and subtlety that he plays with fits almost within
the subconscious of music in such a way that when he’s not playing
everything sounds naked and vacant. There’s also something here for
these applications…
OK,
glitch. I wondered if there was a cultural context for this sort of
effect, something in history that would do this unintentionally…
Something from the human experience, like the echo effect humans have
experienced for eons when shouting in a canyon… Yup! One of the
most frustrating experiences you may remember if you are old enough
to have had one of those portable CD players that do not have
pre-read buffers!!
The
Portable CD player! There was a magical period of my youth where I
could take select parts of my CD collection with me while I drove for
hours around Japan. It was particularly profound because my
soundtracks were carefully curated selections. All it required: a
portable CD player, a stockpile of AA batteries, and a ⅛” to
cassette rig. The problem was that my portable CD player didn’t
have read-forward buffering; if I hit a bump, so did the seamless
experience of my soundtrack. At the time, it was very frustrating to
be interrupted right when the music was about to rock, but in
hindsight, that frustration was of the sort that I would never
experience again. I began to explore the possibilities of putting
this frustration in a pedal. I put some Alva Noto & Ryuichi
Sakamoto on and wrote the software for what would become the CSIDMAN.
OVERVIEW
The
first thing to keep in mind about the CSIDMAN is that it completely
embraces and makes no apologies for the fact that it is digital
(though it does have a 100% analog dry path). Digital is the
CSIDMAN’s aesthetic: as a delay pedal, it strives to reproduce
echoes as true to the input as possible without filtering. When you
utilize its scratched disc, stuttery, and glitchy behaviors, it is
pseudo-random, yet gives you a certain amount of “control” over
the randomness.
Controls:
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.
EXPERIENCE
For
skipping CD behaviors:
MIX
full clockwise
FEED
full counter-clockwise, though turning it up creates cool overloading
effects that responds to playing dynamics.
TIME
to taste
CUTS
above noon
LATCH
above noon
For
an “ambient collaborator” behavior:
MIX
Noon or to taste.
FEED
anywhere turning it up creates cool overloading effects that responds
to playing dynamics, but can run away regardless of MIX setting.
TIME
to taste, but I like starting from 9 to 12 O’clock
CUTS
just below noon
LATCH
noonish
For
a traditional digital delay set up:
Set
your LATCH knob full counter-clockwise, ignore the CUTS knob, and use
your TIME, MIX, FEED knobs for the desired sound as you would a
traditional delay.