![]() DRY: (toggle switch) adds or mutes the original (dry) signal.ĬAPTURE: (footswitch) used to capture a new sample or to start the automatic retriggering. Range from lowpass, through flat to highpass.ĮF. TONE: filter control for the wet (sampled) signal. ![]() TIME: sample buffer maximum size, range from 20ms to 4 sec.įADE: loop fade in, instant-on or fade out control. SPEED: depending on the working mode, this knob controls the play speed of the sample (=pitch), self retriggering rate, or its range in the randomized model. It is a very deep and capable pedal and controls are as follows: (quoted from their website): You might like to try second-hand sites to obtain yours, although I believe you can get on a waiting list with the manufacturer too. They are fairly difficult to obtain- Hexe FXare a small company and they manufacture in limited numbers. It is the one pedal I use the most with my DAW. You can simulate a CD skip sound, fade-ins/outs, tape head manipulation effects, make audio speed up and slow down with a brilliant mix of control and randomness, depending on how you operate it. ![]() The Hexe Revolver DX is a micro sampler/granular texture generator pedal with a 4-second sample buffer. Create a new track and set the input channel to bus 4 and record enable this track. This then comes back into Pro Tools via one of my API 512v’s Hi-Z inputs. This is outputted to a mono bus (bus 4) that is assigned to mono track output. Instead, I’d suggest doing the following in Pro Tools.įirst, route your stereo track to a mono bus (for me, bus 3) which you can use to insert the hardware insert (in my instance on output 9 of my interface). This can be a pain if you have carefully set up panning to busses for some instruments. What to do you if you want to process a stereo signal through a mono pedal? The issue with using a stereo output is you will have to make sure you pan everything in the stereo channel to the center. ![]() You don’t have to do this as a ‘one track at once’ process. I particularly like to send multiple tracks to one output and through a pedal and back in. Recording back into the DAW should then be a simple matter record enabling the correct audio interface inputs and track the effected signal into your DAW on a new track. This might sound obvious but if you want to use a stereo pedal then you will need two re-amper boxes, I would suggest two of the same model, and two inputs on your interface. This can be great for crunchy drums and vocals. You could also connect the pedal outputs to a guitar amplifier and record the signal through any guitar amplifier you have to hand. If your interface does not have a Hi-Z input then you could connect it to a DI box and then into the Mic input of your preamp or interface. The output of your pedal would generally be connected to a Hi-Z input on your interface/mic preamp. Once the DAW output has been plugged into the re-amp box you can connect the output of the re-amper to the input of your pedal(s). I tend to favour active re-ampers with guitar pedals and low gain amplifiers and passive re- ampers with high gain amplifiers. It is worth experimenting with different devices to see what works with your pedals and amplifiers. Some re-ampers are active, allowing you to vary the output level, and some are passive. This takes the line level signal from your audio interface’s output down to instrument level. The solution to this is to use a re-amp device, such as the Radial X-Amp. For many effects though, they simply operate at the wrong level and impedance to get a decent signal to noise ratio. For pedals that can operate at line level, such as the Eventide TimeFactor, this isn’t a problem. In theory you can simply attach your guitar pedals any spare the inputs/outputs of your audio interface and call them up as a hardware insert in your DAW. There are a few reasons for this, sometimes it is a down to the sound but often it is more down to being able to physically interact with the pedal- to essentially ‘play the pedal’. Using guitar pedals with your DAW is a great way to add some different textures to your mix. To say ‘inspiration’ sounds a bit trite but there is just something missing from your song and trawling through your exhaustive list of plugins hasn’t quite worked in that instance. something, but you don’t quite know what it is. We’ve all been there- at some point during the recording or production process you find yourself looking for.
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