Through-zero flanging has been the end-goal of decades of flanging technology since it started. “Flanging,” or the act of holding one’s finger on a tape flange, was where it all started, and is where through-zero flanging has its genesis. It took ...
Through-zero flanging has been the end-goal of decades of flanging technology since it started. “Flanging,” or the act of holding one’s finger on a tape flange, was where it all started, and is where through-zero flanging has its genesis. It took a long time before through-zero flanging was made available to players in stompbox format. And what chatter there has been is now silenced by the Spectre, from Chase Bliss.
For those familiar with Chase Bliss’s other offerings, expect no less control on the Spectre: the bank of 16 DIP switches resides on the back, all providing levels upon levels of control. Chase Bliss’s ModuShape control is also present, which allows users to select one of three half-waves for each side of the LFO, along with Width and Shift controls to fine-tune the oscillation.
The Spectre utilizes two delay lines instead of just one, in order to achieve its through-zero capabilities. The Zero knob shifts the delay time in order to fine tune the waveform. RPM sets the rate, while Regen sets the feedback, or “wetness.”
One of Chase Bliss’s many signatures is the Ramp knob, which interacts heavily with the DIP switches. With none set, the knob controls a wet-dry mix, but many other parameters are available after flicking a few switches. Doing so allows ramping control on either of the other five knobs, leading to some wild sounds.
As is the case with Chase Bliss’s other offerings, an all-analog signal path and tap tempo with subdivisions are available, along with MIDI implementation and presets—quite ambitious for such a small pedal, and its sounds are glorious.
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