Old Blood Noise EndeavorsMAW Vocal Multieffect Processor Pedal

In her recent visit to our studio, LA-based singer-songwriter Katrina Cain shared some valuable wisdom on using creative effects with the most naturally expressive musical instrument: the human voice. We frequently get questions from curious vocalists on how they can explore interesting pedals in combination with their voice, and in this video Katrina not only shows an example of an effective pedalboard setup, but also some important tips on modifying your technique and vocal delivery for achieving the best sonic results. From considering vibrato with harmonizers to using glottal or consonant attacks for defined pitch tracking, many of Katrina's tips are key to understanding how effects can be constructively applied to singing while remaining intelligible and clear.

Using a small curation of her favorite pedals, Katrina shows that you don’t need a ton of effects to prepare an engaging vocal performance. While it contains both a preamp and selection of effects itself, the Old Blood Noise Endeavors MAW also solves the critical issue of bringing the XLR-based microphone into the land of 1/4” pedals. From there, the Mercury 7 and Hedra from Meris respectively offer spacious reverb and ethereal harmonization and delays, and the Ditto Looper from TC Electronic lets Katrina gradually capture and layer multiple vocal lines over the course of a performance.

What began as a simple request for a vocal version of an OBNE effect spiraled into a multi-function device with 10 new effects, versatile in/out and send/return sections oriented toward any instrument you want to throw at it, and ample control over all elements. It’s the new multi-tool for effects lovers on stage and in studio.
In an attempt to succinctly explain the parameters and capabilities of MAW, we find Dan on a night-off at the bar and let him walk us through three different real-time MAW scenarios. He starts with Ryan's vocals and explores the Saturation section, some Delays, Reverbs, and everyone's fave, Octaves. Did we mention MAW has trails? Ryan starts to wild card a little bit so Dan moves onto showing us what MAW does in the context of a Snare mic and an Overhead mic on Brent's drum set. Dan goes over some short and long Reverbs and Delays on the drums as well as Phaser on the Overheads. We then hear the Alpha Haunt Fuzz in the Send / Return, larging-and-in-charging that snare signal. This is also where he explains the Clever-Switching function of MAW's footswitches—tap to engage the effect, hold for momentary function. Once the stage is put back together after the drums got knocked over Dan explains MAW in the context of an Organ. He effects Ben's signal with the Rotary, Pitch, and finally Short and Long Delay modes of MAW and then plugs in two Expression Sliders to control the Feedback functions of the two independent Delay Modes. By that point Dan is ready get off the inter-dimensional roller coaster he's riding and just catch the band.