Old Blood Noise EndeavorsMAW Vocal Multieffect Processor Pedal
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Old Blood Noise MAW Vocal Multieffect Processor Pedal
The MAW from Old Blood Noise Endeavors is a multi-effect pedal designed for use with mic or instrument signals. It features saturation control and two selectable effects. The selectable effects include rotary, octave, flange, phaser, short delay, long delay and four reverb modes. The saturation control has level, tone, and blend. The two selectable effects each have mix control and two control knobs which change function based on the selected mode. Each of the effects are controlled by footswitch which have two modes. Tap the footswitches for latching mode or hold the switch down for the momentary mode. The input is a combo XLR-1/4" input, and there are instrument, XLR, and XLR dry outs. The Dry out is post-saturation but pre-effect, enabling countless options for signal mixing. There are two expression pedal inputs and send and return jacks for routing other effects into the signal path. Add otherworldly effects to your voice or add reverb to mic'd drums: the MAW offers a slew of great effects in one package.
- Multi-effect pedal great for use with instruments or microphones
- XLR preamp built in
- Switchable saturation section with dedicated tone, volume, and blend
- Two independent effects sections, each with algorithm selection and two per-algorithm controls
- Integrated effects loop
- Post-saturation dry direct output
- 9VDC center negative PSU (not included)
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.
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.