Float is a pair of state variable analog filters. Each filter has a full control set, allowing things like filter type, envelope sensitivity, and LFO rate, depth, and shape to be set by the player to craft their ideal filter, whether static or in motion. Where Float really comes alive is with both filters engaged: parallel strangeness, series intensity, synced stereo modulations, or even a simple fully stereo analog filter where you set the cutoff with an expression pedal. Use it with guitars, synths, basses: whatever you want to filter!
Float V2 has:
True bypass switching
Presets
Expression control over every knob
MIDI control over everything in the pedal
Four routing modes: mono parallel, mono series, mono in stereo out, and true stereo
A sync switch to link the motion of the two filters or set them to the same cutoff point
Aux footswitch for tap tempo or preset switching
Controls for each side include:
Cutoff to set the central cutoff frequency
Rate, Depth and Shape to set the speed, range, and shape of an LFO that moves the cutoff around
Sensitivity to use your signal strength to manipulate the Cutoff or Rate settings
Filter Type, Resonance, and Volume to shape the character of the filter
Footswitch to engage or disengage the filter
For more information, see the Float V2 manual available here.
Requires 9V DC center negative 2.1mm jack power supply capable of 350mA (not included).
The art of Float V2 is by Daniel Sutliff.
Beam Splitter takes one signal and makes three copies of it, taking three different overdrive voices and sending two of them through individual delay lines. It is specifically our way of creating a huge sound out of a regular one. Output can be kept in parallel mono, spread out in stereo, or further split into three outputs (what we call “trereo”). While the goal is singular bigness, you can create classic drives, flangers, lofi vibratos, trailing slapback echoes, and more using the full control set.
Beam Splitter V2 has:
Buffered trails or true bypass switching
Presets
Expression control over every knob
MIDI control over everything in the pedal
Mono or stereo input (stereo will be collapsed to mono when the pedal is on), and mono, stereo, or trereo output
Controls include:
Gain, Volume, and Tone to shape the amount of distortion, overall volume, and brightness of each drive section
Time and Feedback controls for each delay to set the timing (up to 211mS) and the amount of resonance or decay
Deviate to randomly vary the delay time, giving a more natural feel and chorus effect
Spread to set the amount of stereo spread
Delay Select to choose which drives are delayed
For more information, see the Beam Splitter V2 manual available here.
Requires 9V DC center negative 2.1mm jack power supply capable of 350mA (not included).
The art of Beam Splitter is by Dustin Charles.
Setback is a reverse delay pedal. In the past, we’ve made what we like to call textural reverse pedals, a lineage that goes from Rever to Minim to BL-44 and a little bit into Parting. With Setback, we wanted to create our ideal reverse: something that can be textural and off on its own timing or totally tempo synced; gritty and characterful or clean and tidy; intuitive and controlled and yet fun and surprising. And we wanted to do all of that in the smallest form factor possible.
Setback has:
Stereo in and out with analog dry through
Buffered trails or true bypass switching
Presets
Expression control over every knob
MIDI control over everything in the pedal, including MIDI clock in for external syncing
Controls
Mix to set the blend of wet and dry signals
Speed to change the playback speed of the reverse, creating pitch shifting effects
Div to set subdivisions of the reverse timing
Clock to adjust the sample rate of the reverse, changing both the delay time and the signal fidelity
Aux switch for tap tempo and held feedback, or preset switching
Alt controls for volume and direct time manipulation
Soft-touch On/Off footswitch with relay switching for minimal switch noise
For more information, see the Setback manual available here.
Requires 9V DC center negative 2.1mm jack power supply capable of 350mA (not included).
Dimensions: 3.25” (width) x 5” (height) x 2” (depth)
The art of Setback is by John Salame
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 lofi 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.
Dimensions: 4.25” (width) x 5” (height) x 2” (depth).
Iota is a tone generator, which is to say, a synth for your pedalboard. It is designed to make playing easy: regardless of your skill level or familiarity with synthesizers, you’ll quickly be making fun sounds, and running them through all your favorite effects. Pick the character of your sound, some notes, and some parameters for how Iota moves through those notes, then set it in motion. Music theory? Sound design? Fret not, just have some fun!
Iota has:
Presets
Expression control over every knob
MIDI control over everything in the pedal, including tempo via MIDI clock and root note via MIDI notes
Mono or stereo output
Aux footswitch for manual triggering of notes, tap tempo, or preset switching
Controls include:
A bank of 12 pushbuttons to set your root note, scale intervals, or one of 12 onboard presets
Osc, Noise, Octave and Volume to shape the core sound
Rate, Range, and Direction to control the speed, range, and direction Iota moves through its sequence of notes
Skip and Hold to create random or patterned skips within the sequence
Bend, Glide and Swing to add a bit more interest to the way the notes move
Env Length, Shape, and Mix to set the way each note swells in or out
Scramble to shuffle the notes around
For more information, see the Iota manual available here.
Requires 9V DC center negative 2.1mm jack power supply capable of 250mA (not included).
The art of Iota is by Kilyn Massey.