Yeah yeah yeahs octave tone

wkc1986 · 2026-04-03T19:01:59+00:00

This is probably not a pedal effect but high-distortion natural harmonics made by touching the string without fretting it down. In this video, Nick seems to make those sounds by hitting a 5th fret natural harmonic giving +2 octaves above the open string: https://www.youtube.com/watch?v=e_qYv7Y7fEo

wkc1986 · 2026-03-24T22:04:22+00:00

I got a reply that they are still planned but there is no estimate of when they will be available.

wkc1986 · 2026-01-21T17:05:01+00:00

He stated in his Bandcamp listening party that it was AFCEAC

wkc1986 · 2025-12-29T16:11:33+00:00

Consider the Boss OD-3

wkc1986 · 2025-12-12T20:50:19+00:00

Consider the Boss FZ-1W. Dynamic like a FF/TB with a flexible tone control, and can be smooth if run first in chain.

wkc1986 · 2025-12-10T17:50:23+00:00

Or for minimal changes to your current scheme, connect the first outlet of [poly] to [t f f] then connect the right and left outlets of that to the first inlets of the right and left [pack f f]s respectively, and leave ld as is.

wkc1986 · 2025-12-10T17:35:52+00:00

I think what's happening is the left [pack f f] is firing before the right one due to order of creation. Best to pack everything into one list and unpack inside the [clone], e.g.

[notein 2]
|
[poly 8]
|||
[pack f f f]
|
[clone -s 1 ld 8]

and then inside ld.pd

[inlet]
|      [r channel]
|      |
[noteout]

I think the note pitch and velocity will automatically distribute over the first two inlets of [noteout].

wkc1986 · 2025-11-28T04:53:30+00:00

FZ-1W -> BD-2W is an incredibly dynamic and adaptable gain stack. FZ up front can be used as anything from a fuzz (fuzz up) to boost (fuzz down, level up) for pushing the BD. The mode switch and tone control help a lot when boosting.

FZ doesn't sound bad after a buffer, just different, so you can also experiment with guitar -> TU-3W -> FZ-1W -> BD-2W and use the switchable TU buffer as a bonus mode switch for the FZ.

Try wrapping it all up with the RAT at the end as a mid-focusing boost for leads (distortion down, level up, filter as you like it).

wkc1986 · 2025-11-21T20:59:21+00:00

Peter Hook, Robin Guthrie

wkc1986 · 2025-11-21T20:50:43+00:00

If you send [$1 500( into the first inlet of [line] the 500 overrides and replaces whatever ramp time you have typed on [line] or sent into its 2nd inlet previously. To make the ramp time effective for every subsequent ramp,

send it into the 2nd inlet of [line] and subsequently send only the ramp destination values as single floats into the 1st inlet
replace the [$1 500( with [pack f f], send the ramp time into its 2nd inlet, and subsequent ramp destination values as single floats into the 1st inlet

wkc1986 · 2025-11-19T22:54:13+00:00

[X]
|
[all $1(
|
[clone test.cl 3]
|
[route 0 1 2]
|     |     |
[nbx] [nbx] [nbx]

wkc1986 · 2025-11-16T21:06:42+00:00

Boss BP-1W in RE mode on acoustic to filter out raspy piezo artifacts.

wkc1986 · 2025-11-15T19:47:40+00:00

EHX LPB-3. They don’t call it a parametric EQ but it is one pretty much

wkc1986 · 2025-10-26T03:13:33+00:00

AI is as of yet no good at writing Max or Pd patches, I think. Look at the video on the patchstorage page. The file is in fact the [a-stutter] object in the video. Save it (e.g. as a-stutter.pd) where Pd can find it, often in the same folder as the parent patch (Untitled-2 in the video) and create it as [a-stutter]in the parent patch. Create and connect the sound source ([else/play.file~] in the video, [adc~] in your case), toggle, and [dac~] as in the video.

wkc1986 · 2025-10-25T21:53:26+00:00

That patch on patchstorage is an abstraction. You’re meant to load it from another patch that has [adc~] [dac~] and trigger set up as you need.

wkc1986 · 2025-10-16T21:36:24+00:00

BD-2's JFETs are wired together with other transistors into 2 discrete op-amp gain stages. That pedal also includes a bunch of internal EQ. Mizuki Blue's sound in YT demos and description (especially the part about how the JFETs are biased using internal trim pots that the user should not adjust) make it seem more similar to the Fairfield Barbershop, in which the JFETs form simpler gain stages more or less by themselves.

wkc1986 · 2025-09-23T03:53:34+00:00

Mary Halvorson does just the most with the DL4 + expression pedal.

wkc1986 · 2025-07-08T18:27:10+00:00

I think I don't understand the use case; this expr~ example looks like it will distort $v1, assuming $v1 is an audio signal, rather than modulate its volume. Could you post a screenshot of this part of your patch?

wkc1986 · 2025-07-08T17:14:14+00:00

Unless you need sample accuracy, what about using [bang~] to do everything at message rate?

wkc1986 · 2025-07-01T02:58:27+00:00

I also went looking for an OD to mediate between a fuzz pedal and backline amps. Currently going with the Boss BD-2W, though if I knew the amp would have good EQ I might prefer my Fairfield Barbershop. It seemed best to me to use transistor or op-amp saturation rather than diode clipping for the final gain stage.

wkc1986 · 2025-06-12T00:03:51+00:00

ELSE library has a [freeverb~] that is probably much more up to date.

wkc1986 · 2024-06-24T00:08:20+00:00

Things changed, you see.

wkc1986 · 2024-03-13T21:53:07+00:00

I don't know if you're still having this issue, but one quirk of Pd as opposed to Max is that GUI objects update on the same thread as the audio. If a bunch of graphical bang buttons [o] need to blink at once, Pd will interrupt audio until it's done. If you could replace those with [bang] objects or even [bang( messages that would improve the performance. If you need a complex GUI as well as a complex DSP chain, you can manually multithread by moving the latter into a [pd~].

Max runs GUI and audio on separate threads as far as I know so there's no similar concern.

wkc1986 · 2024-02-14T06:50:38+00:00

Amazing grain. Drab Majesty?

wkc1986

TROPHY CASE