Whatever way you use it, this effect has NEVER been so easily available - and controllable - as with the Deep Space Pulsar! (Up to now, it's always been an effect that's added in post-production - hardly ever live).
It comes with a microphone; put it inside your drummer's kick drum, plug it into the top end panel of the pedal and you're ready to go! The pedal sits there waiting for the drummer to play....
The 'Dip' knob adjusts the amount of dip to the signal, 'Rel' controls the speed of the release; how quickly the sound rises back up, and 'Vol' is the volume - the pedal can go quite loud, more than compensating for any loss in overall level due to all the ducking. The LED display gives a visual indication of the amount and length of ducking.
However, when instead you plug in the Igor pressure pad controller, the Deep Space Pulsar has tap tempo - a fully correctable facility - enabling it to work if you're playing along to a DJ or drum machine. Two presses of the Igor programs a tempo (the 'record' LED coming on to show that the tempo is being recorded and it's waiting for the second press), and at any point that tempo can be adjusted to bring it back into sync with the music, enabling the pulsing to stay in time for long periods. Pressing on the Igor erases the tempo, for you to start again at a different tempo.
There's a 'Pad' button to alter the sensitivity of the microphone, and also an 'Inv' button to invert the whole effect; no sound is heard until the kick drum (or tap tempo) hits, when a pulse of signal is let through - introducing whole new kinds of sounds!
This is a revolutionary effect, designed specifically for those that play with other people - whether in bands, clubs or studios.
The Reverb-X really comes into its own in how it can deal with the reverb. It's based on the excitement of plugging an overdrive pedal after a reverb pedal; it's 'wrong', but everything you play sounds huge and epic, exaggerated and full of texture and detail... Here, an overdrive circuit - after the reverb - can be blended in via the 'Distn' knob. Have it totally clean, a bit gritty, quite rough, or dial in a fully burnt-out glow.
At all times, however, the input signal is unaffected; if you already use an overdrive pedal, the Reverb-X can add a whole new dimension of distortion to your sound! If your tone is clean however, it stays clean - no matter how much distorted reverb you dial in.
Usually though, in this situation when you stop playing, the hum from your cable alone would be as loud as the notes you were playing! So you have to have a noise gate involved...
This is always on, either before the reverb and distortion circuits, unobtrusively silencing hums and buzzes when you're not playing. Switch in the 'Gate' button though, and this changes to post reverb and distortion. It opens when you play, and closes hard when you stop, totally cutting off any reverb that's happening - giving an incredibly dramatic and original effect. Sure, it's a gated reverb, but play a long riff and gate stays open, giving the full reverberation as set by the 'Size' knob. Stop playing and the whole thing is shut down, giving a tight control over it - like a hard-edited 'sample'.
The 'input' control and 'Overload' LED insure that the output is always as loud - and clean (if desired) - as possible. The 'Out' knob has plenty of spare output volume on tap.
Plug in the Igor expression pad and you get no reverb at all. However as you start to lean on it the signal gets diverted to the waiting reverb pathway, and a bloom of reverberation grows behind whatever notes you're playing. Take your foot off Igor and you go back to fully dry - but the reverb decays on its own.
Or have the 'Gate' switch in, and the added reverb is cut short, like some twisted dub-meister at the controls, messing with everyone's depth perception...
The two types of reverb available are set to cover the widest range of musical situations as possible. The Reverb-X is an incredibly flexible, easy-to-use, and inspiring effect - all in a deeply cute package!
The Dwarf Bleep 'Overtone' pot sets the bleep pitch, from a low square wave up to very high, while the Igor controller works as usual - press with your foot (or hand), and the overtone pitch changes - including bleep pitch.
The noise gate is still in effect.
Adjust the trimpot the other way to go back to standard setting.
Based on the now discontinued Dwarf B***h pedal, the Dwarf Bleep has a wider frequency response, a 'signal present' indicator (the LED illuminates brighter when you play), and cool new graphics.
This hugely exciting new pedal does massive gated fuzz sounds, hi-pass filter/phasers, bit-crushers, downward pitch- change (user tuned), controllable 'proto synth' oscillation tones - a huge palette of tones, all controlled in real-time by Igor, and comes in a custom-designed steel enclosure.
On the back panel is a switch that de-stabilises an offset in the circuit - adding a new level of harmonic-sensitive 'unstable' fuzz tones. The pedal is hard-wired for true bypass footswitching.
There are no sockets on the sides - which would take up too much space, so the input and output are on antennae, out of the way on the top panel. These are Neutrik sockets which securely lock the jack-plug in place, stopping any accidental unplugging during use.
In between them is the 'DC' in socket, though the El Distorto also can run on an internal 9v battery. The 'angry eyebrows' LEDs indicate 'On/Off'.
1 in stock $130.35